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THE   CHALIF 
TEXT    BOOK    OF   DANCING 

BOOK  V 


TOE  DANCING 


By  the  same  Author 

THE   CHALIF  TEXT  BOOK  OF  DANCING 

Books  I,   II,  III,  and  IV 

MUSIC  FOR  EXERCISES  IN  DANCING 

Six  volumes,  supplementary  to  the  Chalif  Text  Books 

MUSIC  FOR  TOE  AND  ADVANCED  EXERCISES 

Supplementary   to   the   volume 

A  book  on 
RUSSIAN  FESTIVALS  AND  COSTUMES 

500  DANCES 

Published  Separately 


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above  works  will  be  sent  on  request.  Brief  descriptions 
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THE  CHALIF 
TEXT  BOOK  OF  DANCING 


BOOK  V 


TOE  DANCING 


%  LOUIS  H.  CHALIF 

Principal  of  the  Chalif  Russian  Normal  School  of  Dancing,  New  York,  N.  Y. 


"DANCE— TO  LIVE" 

Let  dancing  ever  be  pure  beauty — so  shall  it  best  interpret 
the  aspirations  of  our  soul.  And  let  it  be  studied  with 
all    the    ardor    and   the    science    worthy    of    so    great    an    art. 


Published  and  for  sale  by  the  author 

163  WEST  57th  STREET 

NEW  YORK 


Copyright,  1984 

By  LOUIS  H.  CHALIF 


(JIa) 


TO  MY  FRIENDS, 

THE  TEACHERS  OF  DANCING, 

I  DEDICATE  THIS  VOLUME 


1 631  S:^?0 


PREFACE 

In  presenting  this  volume  to  the  favor  of  the 
teaching  and  dancing  profession  we  do  not  claim 
to  cover  the  whole  field  of  toe  dancing,  nor  to 
say  that  if  one  merely  practice  all  the  exercises 
of  this  book  one  will  become  a  beautiful  toe 
dancer.  Such  a  limited  student  would  certainly 
not,  for  the  beautiful  toe  dancer  must  be  a  beau- 
tiful dancer  as  well,  and  in  good  dancing  every 
part  of  the  body  is  included.  There  is  not  room 
between  the  front  and  back  covers  of  one  book 
to  tell  all  that  is  known  about  teaching  how  to 
dance  beautifully.  That  would  require  at  least 
one  hundred  volumes. 

The  present  work  deals  mostly  with  the  legs; 
nor  does  it  tell  all  about  their  technique  either, 
for  the  toe  dancer  is  expected  to  do  many  "stunts" 
with  the  legs,  as  well  as  the  more  natural  move- 
ments of  hopping  and  leaping,  and  none  of  those 
are  included  here.  All  that  we  claim  to  teach 
thru  the  following  exercises  is  how  to  strengthen 
the  toes  so  that  they  can  carry  the  weight  of  the 
whole  body,  without  giving  way  under  the  strain, 
and  how  to  walk  and  stand  correctly  on  the  points. 
This  would  seem  at  first  glance  a  stupendous  ac- 
complishment, yet  strange  to  say  it  is  one  of  the 

7 


THE   CHALIF   TEXT   BOOK   OF  DANCING 

easiest  things  to  teach,  provided  the  pupil  has 
naturally  strong  and  suitably  shaped  feet  for  the 
work.    We  say  easy  to  teach  because  the  methods 
of  teaching  have  been  so  well  worked  out  by  the 
masters  of  the  past  that  all  one  has  to  do  is  to 
practice  the  exercises  laid  down,  following  the 
rules  of  correct  execution,  and  presently  one  will 
be  able  to  walk  on  the  points  with  ease.    The  art 
is  easy  too,  because  the  ways  of  using  the  feet 
and  legs  have  become  so  standardized  that  every- 
one knows  just  what  to  try  for,  which  quickens 
and  assures  progress.     When  one  wanders  into 
the  more  elusive  and  indefinite  field  of  teaching 
arm  and  body  movement,  grace  and  expression, 
there  is  a  different  story  to  tell.    Here  one  must 
use  imagination  and  originality,  for  he  is  dealing 
with  more  human  and  diverse  material.    Teach- 
ing in  this  field  can  never  become  standardized 
because  each  pupil  should  in  the  end  become  a  dif- 
ferent product,  a  different  personality,  expressing 
itself  uniquely,  while  in  toe  dancing  all  must  be 
alike  so  far  as  the  work  of  the  legs  goes.    The 
dancers  should  be  different  otherwise,  tho,  for  as 
we  have  said,  a  toe  dancer  must  be  an  artist  of 
the  whole  body,  and  not  simply  march  in  step. 
So  the  teacher  who  can  impart  grace  and  draw 
out  personality,  while  training  the  legs  in  stand- 
ardized movements,  is  the  teacher  who  can  pro- 
duce the  most  excellent  all-around  toe  dancers. 


PREFACE 

He  must  have  tremendous  skill  at  teaching  to  put 
his  pupils  thru  the  necessary  hours  of  mechanical 
technique  without  killing  their  creative  souls. 

All  the  success  of  the  toe  dancer  does  not  be- 
long to  the  teacher,  however.  The  pupil  herself 
must  have  great  patience  and  perseverance  to  go 
thru  the  arduous  training  required.  There  is  no 
royal  road  to  toe  dancing;  all  the  talent  in  the 
world  is  worth  nothing  without  the  will  to  work. 
But  wonders  can  be  accomplished  even  by  those 
not  naturally  strong  if  only  they  have  this  will  to 
work. 

We  are  aware  that  we  have  repeated  ourselves 
many  times  in  this  volume,  yet  have  not  said  any- 
thing nearly  so  often  as  the  teacher  will  have  to 
say  it  to  keep  his  pupils  up  to  the  mark  that  brings 
results.  If  we  repeated  as  often  as  the  teacher 
must  repeat,  a  whole  volume  would  be,  "Turn 
out  your  toes,  turn  out  your  toes,  please  turn  out 
your  toes !"  Altho  this  is  a  book  chiefly  about  the 
legs,  we  have  tried  our  utmost  thru  the  intro- 
ductory chapters  to  inculcate  the  idea  that  toe 
dancing  should  not  be  nothing  but  legs ;  we  have 
tried  to  arouse  the  wish  to  have  graceful,  expres- 
sive toe  dancing,  even  tho  we  have  not  the  space 
in  this  volume  for  exercises  to  develop  these 
qualities. 

We  have  illustrated  with  photographs  rather 
than  with  drawings  because  we  wish  to  show  the 


THE    CHALIF   TEXT   BOOK   OF  DANCING 

exercises  as  they  can  be  done  by  a  human  being, 
even  tho  they  may  lack  the  absolute  accuracy  and 
extreme  positions  that  would  be  possible  to  the 
artist  with  his  pen.  By  using  photographs  we 
keep  to  our  ideals  of  dancing,  as  we  wish  dancing 
to  be  human  rather  than  mechanically  perfect. 

In  conclusion  we  wish  to  express  our  sincere 
appreciation  and  thanks  to  Miss  Elizabeth  Gil- 
fillan  and  Professor  S.  Columb  GilFillan  for  the 
scholarly  help  they  have  given  me  in  the  prepara- 
tion of  this  book;  to  Miss  Verna  Watson,  Chalif 
graduate,  for  so  ably  posing  for  pictures  of  the 
exercises ;  to  Mr.  Gerecke,  for  the  excellent  pho- 
tographs of  Miss  Watson,  and  to  my  pupils  for 
permitting  me  to  use  their  photographs. 

LOUIS  H.  CHALIF. 
New  York,  May  i,  1924. 


10 


DANCING  AND  TOE  DANCING 

The  beautiful  art  of  dancing  has  the  power  of 
conferring  almost  infinite  pleasure  upon  those  of 
us  who  are  its  devotees.  It  brings  us  health  and 
happiness,  but  most  of  all  it  enables  us  to  express, 
in  the  most  vital  way  possible,  whatever  artistic 
feeling  we  may  have.  Vital  indeed,  for  is  not 
dancing  the  one  art  in  which  the  artist  uses  his 
own  body  and  no  other  medium  with  which  to  ex- 
press himself?  What  could  be  nearer  to  the 
artist  than  his  own  body  ? 

It  is  most  interesting  to  note  how  all  of  the 
other  arts  contribute  their  loveliness  to  the  dancer. 
Music  lends  its  cadence  to  guide  her  feet,  Sculp- 
ture suggests  a  changing  maze  of  varying  atti- 
tudes, Painting  robes  her  in  a  costume  of  gor- 
geous hues,  Poetry  suggests  beautiful  themes  for 
her  dances,  and  Drama  shows  her  how  to  act 
them.  Verily  we  believe  that  Apollo  must  have 
favored  Terpsichore,  his  Muse  of  Dancing,  above 
all  the  other  muses  in  his  train,  for  she  was  en- 
dowed with  all  their  gifts  in  herself. 

No  art  has  more  to  offer  in  the  way  of  variety 
of  pictures  for  the  eye,  or  of  ideas  to  express, 
than  has  dancing.  For  themes  it  has  the  whole 
world  of  Nature  herself  to  draw  from,  from  the 

11 


THE   CHALIF   TEXT   BOOK   OF  DANCING 

Stars  to  the  tiniest  blade  of  grass:  and  dancing 
has  the  emotions  and  aspirations  of  man  himself, 
his  love,  religion,  joy,  grief,  humor,  satire,  the 
experience  of  man  thru  the  centuries  of  history 
and  changing  stages  of  his  civilization,  and  the 
characteristic  personalities  and  habits  of  the  dif- 
ferent nationalities  of  past  and  present  days,  all 
of  whom  have  invented  dances  that  express  them- 
selves :  so  much  does  Dancing  know  of  work  and 
play.  Like  other  arts,  it  tells  the  truth  about  the 
world  as  man  knows  it.  Finally  for  still  further 
themes  man  uses  his  own  imagination,  by  which 
he  transcends  reality  in  creating  characters  that 
do  not  exist,  as  nymphs  and  fauns,  dryads,  Pier- 
rot, Columbine,  Harlequin,  and  so  on.  Or  he 
personifies  in  a  dancing  figure  the  seasons,  winds, 
waves,  an  ideal  or  an  emotion.  And  so  we  have 
many  kinds  of  dancing,  and  the  future  will  un- 
doubtedly bring  more,  drawn  from  these  limitless 
sources. 

Perhaps  none  of  us  can  feel,  or  be  in  complete 
sympathy  with  all  the  forms  that  dancing  takes, 
and  we  can  express  well  only  what  we  understand 
well.  Whenever  we  dance  we  express  two  things 
— the  idea  that  we  are  impersonating,  plus  our- 
selves (our  own  character),  that  is,  we  portray 
the  idea  as  it  looks  to  us.  Those  of  us  who  are 
called  versatile  can  understand  and  feel  a  variety 
of  types  of  dancing,  each  of  which  finds  response 

12 


DANCING   AND    TOE   DANCING 


in  one  part  of  our  nature.  In  Greek  dancing  we 
can  perhaps  best  express  our  most  exalted,  noble, 
beautiful  feelings,  the  highest  part  of  our  nature, 
the  god  within  us,  and  we  dance  as  if  on  the  clouds 
of  Olympus.  In  National  dancing  we  come  down 
to  Mother  Earth,  to  become  mere  mortals,  chil- 
dren of  the  soil,  with  a  healthy  enjoyment  of  the 
simple  pleasures  of  the  moment,  delighting  in 
feats  of  rugged  strength,  conscious  of  an  ad- 
miring audience.  If  we  are  able  to  appreciate 
and  segregate  the  differences  in  the  characters 
of  the  different  nations  as  revealed  in  the  music 
and  steps,  we  can  transplant  ourselves  to  the  va- 
rious countries  and  have  our  dancing  suffused 
by  the  air  of  each  land.  In  Character  dancing, 
that  part  of  our  nature  is  uppermost  which  re- 
sponds to  the  character  impersonated.  If  this  be 
a  coquette,  then  all  our  flirtatious  instincts  come 
to  the  fore;  if  it  be  an  amusing  character,  then 
our  sense  of  comedy  holds  sway ;  if  it  be  a  gipsy, 
then  our  blood  turns  to  fire  in  our  veins,  as  if  the 
savage  yet  surviving  in  us  were  to  take  posses- 
sion. When,  as  a  toe  dancer,  we  dance  on  the 
very  tips  with  delicate  little  steps,  all  our  love 
of  lightness  and  exquisite  refinement  of  move- 
ment is  the  ruling  force.  The  same  part  of  our 
mind  that  appreciates  fine  lace,  china,  and  minia- 
tures, enjoys  the  delicacies  of  toe  dancing. 
All  that  we  have  so  far  written  has  been  with 

13 


THE    CHALIF   TEXT   BOOK   OF   DANCING 

one  object  in  mind — to  show  the  tiny  little  place 
of  toe  dancing  in  the  great  world  of  dancing. 

TOE  DANCING 
There  is  much  discussion  and  divided  feeling 
at  the  present  time  for  and  against  toe  dancing. 
Its  enemies  say  that  since  it  is  not  a  child  of 
nature  it  is  beyond  the  pale,  while  its  friends  say 
that  thru  it  they  triumph  over  the  laws  of  nature, 
thereby  showing  the  superiority  of  man  and  art 
to  nature.  Another  reason  for  its  popularity  is 
that  it  portrays  the  cute  and  dainty,  which  many 
people  regard  as  the  essence  of  femininity  (just 
as  the  ingenue  in  the  play  receives  all  of  the 
adoration  of  some,  who  pass  by  without  notice  the 
more  virile  characters).  Again  tradition  makes 
many  dancers  cling  to  toe  dancing,  which  was  for 
so  many  years  considered  the  highest  form  of  the 
art.  But  the  chief  reason  for  its  existence  re- 
mains its  difficulty  of  accomplishment.  The 
dancer  likes  the  satisfaction  of  overcoming  ob- 
stacles, and  it  is  a  common  human  weakness  in 
both  dancer  and  spectator  to  place  virtuosity  on 
a  higher  pedestal  than  it  deserves.  A  spectator 
of  Greek  or  National  dancing  might  say  to  him- 
self, "I  could  do  that  if  I  tried,"  but  he  would 
never  say  it  of  the  toe  dancer.  Her  he  regards  as  a 
superior  being,  because  she  can  do  something  he 
could  not.    A  spectator  may  burst  his  gloves  with 

14 


DANCING   AND   TOE   DANCING 


applauding  when  he  sees  i6  turns  in  succession 
or  a  leap  so  high  as  to  seemingly  overcome  the 
law  of  gravity.  Let  him  enjoy  himself  thus  if 
he  wants  to ;  we  are  glad  to  see  anyone  happy  for 
any  reason ;  but  we  could  wish  that  he  had  a  truer 
appreciation  of  dancing,  which  would  give  him 
the  greater  joy  of  esthetic  pleasure.  Dancing 
holds  such  infinite  possibilities  of  giving  pleasure 
that  it  is  not  dependent  at  all  upon  virtuosity. 
When  we  enjoy  toe  dancing,  if  we  do  enjoy  it,  let 
it  be  for  many  other  reasons  than  its  difficulty. 
We  do  enjoy  it  (the  secret  is  out)  if  it  is 
superbly  done,  with  perfect  ease  and  grace.  But 
it  is  not  our  favorite  style  of  dancing.  How  can 
one  who  believes  in  freedom,  you  may  ask,  and 
whose  god  is  Nature  ever  enjoy  seeing  Nature 
perverted?  We  shall  try  to  explain  the  dis- 
crepancy in  this  wise :  The  toe  dancer  is  a  man- 
made  product,  to  be  sure,  but  we  like  to  think  that 
she  grew  out  of  the  human  desire  to  create  some- 
thing most  exquisitely  delicate,  someone  so  light 
and  airy  that  she  need  scarcely  touch  the  ground. 
Naturally  when  the  composer  made  her  so  light 
he  had  to  poise  her  lightly,  and  this  he  did  by 
raising  her  from  the  ground  higher  and  higher, 
until  at  last  only  the  very  tips  of  her  toes  touched 
the  floor.  Then  he  dressed  her  all  in  frilly  tarla- 
tan to  make  her  look  like  thistledown,  which  was 
the  lightest  thing  he  knew,  and  called  her  a  sprite 

15 


THE    CHALIP   TEXT   BOOK   OF  DANCING 

or  a  fairy.  Then,  his  imagination  running  riot, 
he  had  her  run  about  on  the  points  of  her  toes 
(only  she  preferred  to  dance).  So  there  was  his 
fantasy  complete — his  airy  little  sprite  who 
danced  on  her  toes,  because  it  was  her  nature  to 
do  so.  Thus  he  justified  himself  with  Nature  by 
allowing  the  sprite  to  follow  her  own  nature  in 
dancing  on  her  toes.  This  is  the  true  story  of  the 
birth  of  the  toe  dancer,  and  she  is  just  as  real 
herself  as  any  of  the  other  fairies  and  elves  of 
our  art,  or  the  nymphs  and  fauns  of  ancient 
Greece,  or  the  witches  who  ride  brooms,  or  Cupid 
or  Psyche. 

In  our  opinion  toe  dancing  appears  at  its  best 
in  this  character  of  a  sprite,  and  in  the  tarlatan 
ballet  costume  which  was  invented  for  it  orig- 
inally, or  in  a  light  and  frivolous  personage  of  the 
imagination  like  Columbine.  But  when  one  who 
is  supposedly  a  real  person  in  the  costume  of  a 
human  being  dances  on  the  points,  it  seems  an 
unnatural  note;  and  when  the  Greek  costume, 
with  its  natural  simplicity  and  restrained  philoso- 
phy is  worn,  it  seems  inexcusable.  We  do  not 
like  these  mixtures.  A  natural  dance  should  have 
a  natural  costume,  and  an  artificial  dance  an  arti- 
ficial costume.  We  had  as  lief  see  Juno  don  a 
ballet  dress  as  see  a  toe  dancer  in  Juno's  costume. 

Yet  would  we  like  to  see  more  of  nature  in  toe 
dancing  itself  than  is  usually  found  there.    We 

16 


DANCING   AND   TOB  DANCING 


would  have  more  of  the  dancer's  own  personality, 
and  more  freedom  in  the  use  of  the  arms  and 
upper  half  of  the  body.  In  the  use  of  the  legs 
we  would  not  wish  any  change  from  the  time- 
honored  standards,  except  for  confining  extreme 
turning  out  of  the  legs  to  exercises  only,  and  for 
bringing  a  plastic  rather  than  a  wooden  strength 
to  the  legs.  The  artificial  perfection  and  accuracy 
of  the  footwork  must  go  hand  in  hand  with  the 
artificiality  of  walking  on  the  points.  When  too 
much  naturalness  is  brought  to  the  footwork,  the 
effect  is  not  pleasant ;  in  fact  there  is  then  no  defi- 
nite effect;  the  dancer  does  not  appear  either  a 
sprite  or  a  real  person. 

So  toe  dancing  may  be  regarded  in  the  main 
as  a  finished  art.  The  word  finished  or  standard- 
ized is  a  fateful  word  that  may  sound  the  death 
knell  of  any  art.  Where  there  is  not  room  for 
much  growth,  there  may  be  death.  But  since  toe 
dancing  is  so  popular  today  let  us  enjoy  its  un- 
deniable witchery  and  charm,  and  bring  to  its 
study  a  love  of  its  daintiness  and  a  joyous  appre- 
ciation of  its  perfected  art. 

THE  IDEAL  TOE  DANCER 

She  is  more  than  a  mere  adorable  performer 

of  difficult  tricks.    She  has  another  quality  higher 

than  either  cuteness  or  virtuosity,  that  lifts  her 

dancing  into  the  realm  of  the  ideal— a  quality 

17 


THE   CHALIF   TEXT   BOOK   OF  DANCING 

that  elevates  all  true  art — spirituality.  This  it  is 
that  makes  our  ideal  toe  dancer  seem  not  of  this 
earth,  but  an  airy,  disembodied  sprite  or  an  in- 
carnation of  joy  itself.  Those  swift  twinkling 
feet  and  those  fairy-like  flights  do  not  belong  to 
this  every-day  world  of  ours.  We  look  into  an- 
other and  enchanted  world  when  we  see  her  dance, 
a  world  where  such  facts  as  physical  bodies  and 
floors  to  dance  upon  do  not  exist.  Our  dancing 
sprite  spurns  the  ground,  she  dances  in  the  trem- 
bling air  above  it,  her  body  having  no  weight  at 
all,  being  made  entirely  of  foam  and  dew.  No 
wonder  she  can  play  at  will  with  those  twinkling 
steps  and  fairy  leaps  that  we  mere  mortals  find 
so  difficult. 

PAVLOV/A 

We  realize  that  in  praising  the  ideal  toe  dancer 
we  have  been  praising  Pavlowa  on  her  toes,  as 
who  would  not.  How  could  one  think  of  a  dis- 
embodied sprite  without  thinking  of  Pavlowa, 
that  "spirit  of  fire  and  dew."  Pavlowa  has  glori- 
fied toe  dancing,  has  shown  what  it  can  be,  has 
brought  to  it  all  the  virtues  of  all  kinds  of  danc- 
ing, and  of  pantomime  too.  In  her  we  see  the 
paradox  of  a  combination  of  the  naturalness  of 
the  new  school,  which  is  a  return  to  nature,  with 
the  fineness  of  that  cultivated,  aristocratic  danc- 
ing which  is  the  classical  school.    The  three  out- 

18 


DANCING   AND   TOE   DANCING 


standing  qualities  that  make  Pavlowa  justly 
called  the  "incomparable"  are:  the  plasticity  of 
her  entire  body,  the  majesty  of  her  movements, 
and  the  spirituality  that  envelops  all  and  makes 
her  seem  more  than  human.  In  the  pantomime 
which  accompanies  her  dancing  step  by  step  there 
is  no  mood,  from  the  burning  fire  of  the  gipsy 
to  the  tragedy  of  the  dying  swan  or  the  quietness 
of  the  dreaming  lily,  that  she  cannot  feel  and  ex- 
press. She  can  vibrate  to  all  the  joy  in  the  world, 
yet  is  never  so  exquisite  as  in  her  melancholy 
mood.  Her  pantomime  is  vital  and  compelling 
because  it  is  always  exprest  by  her  body  as  a 
whole — not  only  in  her  face,  but  in  every  inch  of 
her,  from  the  tips  of  her  toes  to  the  last  hair  of  her 
head — so  that  even  those  of  her  worshipers  whose 
purse  will  not  permit  them  a  front  seat,  can  yet 
read  her  thoughts  plainly  from  their  high  place 
in  the  gallery,  for  her  meaning  shines  out  large 
in  the  lines  of  her  whole  body.  It  is  because  her 
expressiveness  and  beauty  of  imagination  have 
a  depth  that  cannot  be  fathomed,  that  one  can 
see  her  a  thousand  times,  and  never  reach  the  end 
of  enjoyment  of  her;  and  that  those  who  have 
for  years  heard  her  praises  sung  are  not  only 
not  disappointed  when  they  finally  see  her,  but 
find  her  more  wonderful  than  anything  they  had 
been  able  to  imagine.  We  have  only  one  regret 
in  thinking  of  Pavlowa — that  the  generations  yet 

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THE   CHALIF   TEXT   BOOK    OF  DANCING 

unborn  will  not  see  her,  the  greatest  dancer  the 
world  has  ever  seen. 

Remember,  dear  reader,  that  all  this  praise  of 
expression,  personality,  beauty  and  intelligence 
(which  yet  does  not  express  all  that  we  feel*) 
goes  to  one  who  is  at  the  same  time  doing  the 
difficult  and  unnatural  "stunt"  of  walking  on  the 
toes — a  fact  which  adds  to  the  wonder  of  it  all. 
She  seems  not  to  be  aware  of  the  difficulties  she 
is  each  moment  overcoming,  but  only  plays  with 
hard  parts,  making  them  add  to  her  general  ex- 
pressiveness. Her  personality  and  intelligence 
shine  right  thru  these  difficulties,  as  if  they  were 
not  there  at  all.  She  is  not  hampered  in  the  least 
by  walking  on  the  points ;  it  would  seem  as  if  she 
were  born  to  walk  thus. 

We  the  initiated  in  dancing,  know  however 
that  her  marvelous  ease  and  fairy-like  lightness 
did  not  come  naturally  or  unsought.  They  are 
the  result  of  having  legs  trained  to  be  strong  and 
pliable  as  fine  steel,  and  a  mind  trained  intelligent- 
ly to  know  beauty  and  lightness.  So,  dear  reader, 
if  you  wish  to  dance  like  Pavlowa,  put  on  your 
pink  ballet  slippers  and  go  to  the  bar  to  strengthen 
your  toes.  You  can  never  be  another  Pavlowa 
(and  should  not  try  to,  for  imitation  is  base),  but 


*We  do  not  feel  that  in  the  above  we  have  done  by  any  means  complete 
justice  to  Pavlowa,  for  since  this  is  a  book  on  toe  dancing  only,  we  have 
not  spoken  of  her  marvelous  interpretation  of  other  styles  of  dancing, 
in  80  many  of  which  she — the  artist — excels. 

20 


DANCING   AND   TOE  DANCING 


you  may  rise  very  high  in  the  art  of  toe  dancing 
if  you  work  as  hard  as  she  does  for  strength  and 
perfection,  and  open  your  mind  to  the  great  pos- 
sibiHties  of  self-expression  thru  toe  dancing  that 
Pavlowa  has  revealed. 


21 


TECHNIQUE 

Technique  is  nothing  in  itself:  it  is  only  the 
means  to  an  end,  and  the  best  end  is  expression. 
There  is  a  vast  difference  between  the  dancing 
of  those  who  regard  technique  as  an  end,  and 
those  who  regard  it  as  a  means.  The  former  seem 
to  be  doing  exercises  before  an  audience,  while 
the  latter  seem  to  be  really  dancing.  There  is  as 
much  difference  between  them  as  between  the  dry 
pianola  and  the  interesting  human  pianist.  Par- 
ticularly in  toe  dancing  the  artist  must  guard 
against  losing  herself  in  technique.  Here  she 
has  so  many  physical  difficulties  to  overcome  that 
she  tends  to  put  all  her  thought  and  effort  in  this 
direction.  It  is  the  teacher's  part  to  keep  the 
real  goal  of  expression  before  his  pupil,  and  the 
surest  and  easiest  way — in  fact  the  only  way  to 
keep  it  before  her — is  to  sincerely  believe  in  the 
goal  himself,  for  pupils  always  sense  the  teacher's 
thought. 

Freedom  is  the  most  immediate  aim  of  tech- 
nique, while  expression  is  its  final  aim.  How  can 
the  dancer  express  her  soul  thru  her  body  if  she 
does  not  have  the  free  use  of  her  body?  All  of 
the  good  qualities  of  technique  are  included  in  the 
one  quality  freedom,  just  as  so  many  of  the  vir- 

22 


TECHNIQUE 


tues  of  human  character  are  included  in  the  great 
virtue  love.  For  example,  how  can  the  dancer  be 
free  to  move  her  body  about  from  place  to  place 
easily,  or  hurl  it  into  the  air  and  seem  to  hang 
there,  as  in  leaping,  unless  she  be  strong?  If  she 
cannot  leap  and  hop  high  it  shows  that  her  mus- 
cular tone  is  weak.  How  can  she  be  free  to  hold 
her  body  motionless  for  as  long  as  she  desires 
or  to  start  or  stop  its  impetus  at  will  unless  she 
has  aplomb  f  How  can  she  be  free  to  bend  and 
twist  her  body  into  any  shape  desired,  if  she  be 
not  supple f  How  can  she  be  free  to  move  with 
the  slowness  of  a  deep  river  unless  she  have  com- 
plete control?  Or  how  with  the  rapidity  of 
lightning,  unless  she  have  dexterity?  And  how 
can  she  present  pleasing  pictures  if  she  have  not 
free  control  of  the  lines  of  her  whole  body  ?  Thus 
we  see  the  great  necessity  of  freeing  the  dancer 
so  far  as  possible  from  the  physical  limitations  of 
the  body — to  make  this  merely  a  perfect  instru- 
ment with  which  to  fulfill  the  commands  of  the 
spirit. 

To  forget  the  body  amid  the  physical  difficulties 
of  walking  on  the  points  is  a  great  achievement. 
How  to  have  perfect  freedom  while  walking  on 
stilts — this   is   the   problem   of   the   toe   dancer. 

Aplomb  is  a  favorite  word  among  dancers — a 
much  sought  after  quality  that  confers  distinction 
upon  its  possessor,  separating  her  from  her  more 

23 


THE   CHALIF   TEXT  BOOK   OF  DANCING 


''sloppy"  associates.  The  dancer  who  has  aplomb 
shines  out  among  his  fellows  like  a  first-magni- 
tude star.  Aplomb  includes  a  number  of  the  vir- 
tues of  dancing,  chief  among  them  being  poise, 
which  is  a  perfect  control  of  the  weight  of  the 
body  at  each  moment,  whether  the  dancer  be 
standing  still  or  moving.  With  perfect  poise  the 
dancer  can  stand  on  one  foot  as  long  as  she  wants 
to,  or  transfer  the  weight  quickly  from  one  foot 
to  the  other,  enabling  her  to  move  lightly  and 
easily,  and  to  turn  without  getting  dizzy.  Bal- 
ancing on  one  foot  or  one  point  is  a  ''stunt"  that 
always  takes  with  an  audience,  and  finds  favor 
with  us  too,  for  this  "stunt"  is  beautiful  as  well 
as  difficult.  Poise  is  cultivated  by  practicing  bal- 
ancing on  one  foot  with  the  body  held  motionless, 
or,  what  is  more  difficult,  while  moving  the  other 
foot  and  the  body,  going  thru  evolutions  from  one 
position  to  another.  Having  the  weight  on  the 
inner  side  of  the  foot  helps  to  maintain  the  bal- 
ance. There  are  certain  other  aids  to  balancing, 
one  being  to  fasten  the  eye  upon  something  sta- 
tionary; for  example,  a  certain  spot  on  the  wall. 
Then  since  the  spot  does  not  move,  the  dancer 
does  not,  so  open  is  the  human  mind  to  sugges- 
tion. Balance  is  largely  mental.  In  fact  a  poised, 
calm  mind  is  the  greatest  help  toward  poise  of 
the  body.  Another  great  help  is  a  good  night's 
sleep,  as  many  dancers  have  discovered. 

24 


TECHNIQUE 


Aplomb  includes,  besides  poise,  precision  and 
clarity.  The  dancer  who  has  aplomb  takes  each 
step  and  attitude  with  sureness,  then  holds  it  mo- 
tionless. She  does  not  "wobble"  afterwards,  or 
readjust  her  foot  position,  or  take  little  extra 
steps,  or  improve  upon  the  position  of  her  arms. 
She  takes  the  position  as  it  happens  to  come  and 
by  it  stands  or  falls.  (Let  us  hope  that  she 
stands !)  If  it  be  not  perfectly  taken,  she  does  not 
advertise  the  fact  by  changing  it,  nor  show  by 
her  face  or  otherwise  that  it  is  not  just  as  she 
wanted  it.  She  gives  the  impression  that  what- 
ever she  does  is  what  she  meant  to  do.  Thus 
she  may  deceive  her  audience  into  thinking  that 
she  is  doing  better  than  she  is — a  lie  which  must 
be  forgiven  since  it  is  in  the  interest  of  the  audi- 
ence, who  have  come  in  order  to  admire. 

Elevation,  pronounced  as  a  French  word,  is  a 
necessary  quality  for  the  toe  dancer.  It  means 
being  well  up  on  the  points,  that  is  with  the  toes 
absolutely  perpendicular.  There  is  a  look  of 
lightness  and  ease  that  goes  with  a  good  elevation. 
The  dancer  looks  as  if  she  were  so  lightly  poised 
that  she  might  fly  away  at  any  moment,  and  she 
has  so  much  ease  in  going  from  a  sole  to  a  point 
position  that  one  scarcely  notices  which  position 
she  takes.  She  blends  her  point  steps  and  sole 
steps  together  into  the  harmonious  sentences  of 
the  dance's  story.    The  less  proficient  toe  dancer, 

25 


THE    CHALIP   TEXT  BOOK   OP  DANCING 

however,  makes  an  unpleasantly  noticeable  differ- 
ence between  being  on  the  points  and  soles ;  there 
is  a  tremendous  jerk,  and  she  is  up,  then  a  thud, 
and  she  is  down  again. 

The  way  to  get  a  good  elevation  is  to  practice 
battements  tendus  and  exercises  to  stretch  the 
arch  and  ankle  (if  the  latter  is  necessary  to  bring 
the  foot  to  the  proper  position).  The  way  to  get 
a  look  of  ease  and  smoothness  in  rising  to  a  point 
position  is  to  get  elasticity  in  arches  and  ankles 
thru  certain  exercises.  Another  means  of  obtain- 
ing this  elasticity  is  to  do  much  of  the  natural  and 
lyric  dancing  on  the  balls. 

Ballon,  2l  word  which  dancers  use  to  designate 
lightness,  tho  that  is  not  its  true  meaning  in 
French,  means  an  easy  and  high  lifting  of  the 
body  from  the  floor,  as  in  leaping  and  hopping. 
A  dance  that  is  done  almost  entirely  upon  the 
points  is  apt  to  be  monotonous  and  stiff.  The 
artistic  toe  dancer  cannot  only  dance  about  upon 
the  points  gracefully,  but  can  dance  on  the  balls 
just  as  well,  can  fly  about  with  abandon,  smooth- 
ness and  ease,  can  spring  high  off  the  ground,  and 
descend  again  as  lightly  as  thistledown.  She  can 
charm  the  beholder  with  a  variety  of  steps  all 
equally  well  done.  Many  toe  dancers  do  not  have 
any  ballon  at  all.  As  soon  as  they  come  down 
from  the  points,  their  dancing  is  heavy  and  flat. 
They  cannot  hop  or  leap  either  high  or  grace- 

26 


TECHNIQUE 


fully,  or  if  they  do  hop  high,  it  is  with  an  un- 
pleasant jerk  of  the  ankle  upon  leaving  the  floor, 
instead  of  with  a  smooth  and  graceful  upward 
flight. 

Good  ballon  is  acquired  by  first  strengthening 
the  legs  at  the  bar,  then  practicing  enchainments 
containing  leaping  and  hopping.  Too  great  a 
proportion  of  time  spent  at  the  bar  causes  a 
wooden  stiffness  of  legs  that  prevents  a  free 
flight.  It  is  a  good  rule  to  follow,  that  whatever 
the  dancer  wants  to  do  well,  she  must  practice 
doing.  Concentrating  entirely  upon  strengthen- 
ing the  feet  for  toe  dancing  does  build  the  toe 
dancer  more  quickly,  it  is  true,  but  makes  her  one- 
sided— able  to  do  nothing  but  dance  on  the  points, 
and  that  stiflly. 

Strength  and  Plasticity  are  both  necessary  to 
the  toe  dancer.  It  is  true  that  with  the  former 
only,  she  can  be  a  toe  dancer,  but  it  takes  the 
latter  as  well  to  make  her  an  artistic  toe  dancer, 
which  is  the  only  kind  worth  being. 

Let  us  consider  first  the  legs.  They  should  be 
really  as  strong  as  steel,  yet  appear  to  be  made 
only  of  soft  muscle  that  can  "give"  and  bend,  hav- 
ing a  resiliency  that  enables  the  dancer  to  bounce 
up  and  down,  or  spring  high  upward.  The  legs 
should  be  alive  and  human,  and  capable  of  expres- 
sion. Pavlowa's  can  fairly  speak  the  sentences 
of  the  dance.     Plastic  legs  are  the  result  of  the 

27 


THE   CHALIP   TEXT  BOOK   OF  DANCING 

right  proportion  of  bar  practice  to  center  practice, 
and  of  doing  all  leg  exercises  with  the  proper  ex- 
pressions of  vigor,  majesty  and  enthusiasm. 
Wooden  legs  come  from  too  much  bar  work  done 
in  a  plodding,  conscientious  spirit.  Plastic,  grace- 
ful resilient  legs  come  from  using  only  what 
energy  is  needed  to  do  and  exercise  thoroly  and 
completely :  wooden  legs  come  from  the  tenseness 
of  wasted  strength,  a  useless  straining  and  tight- 
ening of  the  muscles  for  no  reason  whatever. 
Plastic  legs  are  to  wooden  legs  as  vitalizing 
energy  is  to  despairing  effort.  It  is  the  teacher's 
part  to  so  stimulate  a  class  by  his  inspiring  com- 
mands that  they  will  rise  above  effort  to  energy, 
and  thus  in  a  few  moments  gain  the  strength  and 
plasticity  that  might  otherwise  take  hours. 

Strength  and  Suppleness  must  go  hand  in  hand 
if  there  is  to  be  control  of  the  body.  Suppleness 
alone  may  be  only  a  "floppiness,"  a  capacity  for 
flinging  the  legs  about  and  making  contortions  of 
the  body ;  but  when  strength  is  there  too  one  has 
the  ability  to  hold  the  position  assumed  as  long- 
as  desired,  so  enabling  intelligent  control  of  the 
pictorial  qualities  of  the  dance.  Stretching  at  the 
joints,  which  makes  for  suppleness,  is  particularly 
necessary  in  toe  dancing  where  all  positions  are 
exaggerated  beyond  the  natural,  where  the  legs 
are  lifted  high,  and  the  body  often  bent  in  ex- 
treme degree.     Alternated  with  stretching  exer- 

28 


TECHNIQUE 


cises  should  be  strengthening  exercises,  to  enable 
the  muscles  that  took  the  positions  to  continue 
their  tension,  while  at  the  same  time  (this  is  a 
subtle  point  in  mechanics)  the  muscles  on  the 
other  side  of  the  body,  the  limbs  whose  action  is 
in  the  opposite  direction,  must  also  have  just 
the  right  amount  of  action  (tension)  to  keep  the 
first  muscles  from  overdoing  their  part  with  dan- 
ger of  dislocation  of  the  joint  involved.  There 
must  be  strength  everywhere  to  control  action 
and  protect  from  overaction.  Stretching  by  it- 
self weakens.  The  rule  is  that  wherever  you 
stretch  you  must  strengthen  also.  Another  rule 
is  that  stretching  should  be  done  by  degrees,  not 
all  at  once,  to  avoid  the  accidental  tearing  of  weak 
ligaments,  and  to  make  sure  that  the  strength 
keeps  up  with  the  stretching,  so  that  muscular 
"tone"  (a  proper  degree  of  tension)  will  bring 
control  and  also  protect  the  joints. 

Plasticity  of  body  and  arms  makes  for  the 
beauty  of  the  dance,  and  should  not  be  neglected 
for  the  training  of  the  legs,  as  is  apt  to  be  done 
in  teaching  toe  dancing.  Training  the  legs  too 
exclusively  tends  to  stiffen  and  deaden  the  upper 
part  of  the  body,  causing  it  to  be  held  motionless 
when  dancing.  The  cure  for  a  stiff  body  is  plastic 
exercise  for  the  whole  body,  as  well  as  using  body 
and  arms  in  connection  with  all  enchainments, 
and  even  sometimes  with  par  terre  leg  exercises, 

29 


THE   CHALIF   TEXT   BOOK   OF   DANCING 

and  in  insisting,  when  teaching  a  dance,  upon 
good  Hnes  and  poses,  which  of  itself  requires  and 
develops  plasticity  of  body.  "But,"  the  teacher 
may  say,  "I  have  to  produce  toe  dancers  in  a  cer- 
tain length  of  time,  and  if  I  spend  too  much  time 
on  training  the  body  as  a  whole,  the  feet  (which 
after  all  make  the  toe  dancer)  will  be  neglected.'' 
This  is  quite  true.  An  hour's  lesson  is  too  short 
a  time  to  accomplish  everything  in — even  life  it- 
self is  too  short  to  do  all  one  would  wish  to.  You 
will  have  to  take  your  choice  of  producing  a  man- 
ikin in  a  short  time,  or  a  real  live  toe  dancer  in  a 
longer  time.  The  best  way  out  of  the  predica- 
ment is  to  have  your  pupils  join  classes  in  other 
kinds  of  dancing  as  well  as  toe  dancing.  Best  of 
all  would  be  for  them  to  join  a  class  in  Inter- 
pretive dancing,  where  they  would  learn  relaxa- 
tion, and  as  a  crowning  achievement,  acquire  the 
quality  of  spirituality  which  so  beautifully  en- 
hances toe  dancing. 

Plasticity  and  energy  are  curiously  combined 
in  toe  dancing.  The  lower  half  of  the  body  (the 
legs)  must  be  energized  and  strong  (tho  plastic) 
while  the  upper  part  of  the  body,  including  the 
arms,  is  relaxed  and  devitalized,  being  held  most 
lightly,  in  a  fluid  state  as  it  were,  so  that  it  is  free 
to  express  in  a  moment  any  thought  or  emotion 
that  arrives.  To  thus  divide  her  body  into  two 
parts  is  a  difficult  feat  for  the  toe  dancer's  mind, 

30 


TECHNIQUE 


and  one  that  she  does  not  usually  acquire  for 
quite  a  while  (and  sometimes  never!). 

Adagio  movement,  to  take  an  Italian  word  used 
in  defining  musical  interpretation,  means  ex- 
tremely slow  movement,  and  in  dancing  means 
also  smooth  and  controlled  movement.  A  male 
partner  often  supports  the  toe  dancer  while  she 
goes  thru  slow  and  beautiful  adagio  evolutions 
standing  on  one  foot.  But  she  must  be  able  to 
do  adagios  without  support,  too,  if  she  is  to  be 
reckoned  a  good  dancer,  for  every  good  dancer 
must  have  balance  and  control.  Then,  too,  all  of 
her  dancing,  whether  slow  or  fast,  will  be  beauti- 
fied by  her  capacity  for  adagio,  whether  or  not 
she  be  doing  it  at  the  moment.  For  adagio  prac- 
tice brings  a  beautifully  lyric  quality  of  move- 
ment, a  personal  expressiveness,  the  ability  aptly 
to  interpret  the  music  by  drawing  out  each  ges- 
ture of  foot  or  arm  to  fill  in  with  movement  each 
note  of  music  allotted  to  the  movement,  the 
faculty  to  build  each  attitude  slowly  with  a  gentle 
graciousness,  rather  than  to  jump  into  it  abruptly 
with  a  crude  and  jerky  movement.  To  put  all 
in  a  nutshell,  adagio  movement  means  that  magic 
quality  grace,  which  is  so  potent  to  behold,  but 
so  elusive  to  describe.  To  acquire  grace  is  why 
students  practice  so  conscientiously  their  adagios, 
to  counteract  the  necessary  but  more  mechanical 
battements. 

31 


THE   CHALIP   TEXT   BOOK    OF  DANCING 

Dexterity,  meaning  quickness  more  than  any- 
thing else,  is  indispensable  to  the  toe  dancer.  She 
must  be  able  at  times  to  make  her  feet  twinkle 
and  flash,  to  move  like  lightning  from  one  place 
to  another,  or  turn  herself  round  and  round  with 
the  fire  of  the  inferno.  People  expect  her  to  do 
these  things,  and  the  character  of  toe  dancing  it- 
self demands  them  too.  The  very  act  of  standing 
on  the  tips  of  the  toes  suggests  taking  little  steps, 
and  little  suggests  many  steps  rapidly,  just  as  a 
large  movement  suggests  slowness.  But  rapidity 
must  be  accompanied  by  ease,  which  is  an  out- 
growth of  strength.  But  practicing  for  strength 
alone  will  not  bring  rapidity — both  must  be  prac- 
ticed. Begin  by  trying  for  strength  and  accuracy, 
then  little  by  little  (for  dexterity  should  be  a 
slow  growth),  do  certain  exercises  faster  and 
faster,  or  what  is  better,  let  them  seem  to  do 
themselves  faster  and  faster,  as  a  result  of  ease. 
Also  practice  certain  exercises  that  are  especially 
for  dexterity,  like  pas  de  Bourree,  petits  batte- 
ments  sur  le  cou  de  pied,  petits  battements  in  fast 
tempo,  etc.  Beware  of  forcing  dexterity  too 
soon,  since  this  brings  a  stiffness  which  is  the 
enemy  of  quickness,  as  relaxation  is  its  friend. 
In  good  teaching  slow  movement  comes  first,  then 
quick  movement,  as  an  outgrowth  of  slowness. 
As  we  said  in  the  previous  paragraph,  in  order  to 
move  fast  gracefully  one  must  be  able  to  move 
slowly.  32 


TECHNIQUE 


Staccato  movement  (separated  movement)  is 
a  bird-like  quality  that  is  most  attractive  in  the  toe 
dancer  when  she  is  dancing  to  staccato  music.  It 
is  in  its  essence  a  lightning  quickness  alternating 
with  pauses.  Yet  the  movements  are  graceful 
too,  if  legato  movement  has  been  learned  first.  In 
dancing  it  is  just  as  at  the  piano — the  legato  must 
be  learned  first,  for  if  staccato  come  first,  legato 
can  never  be  well  learned.  And  if  the  dancer 
learn  staccato  first  she  will  be  apt  to  be  jerky 
always. 

Accuracy  is  a  quality  that  must  go  with  this 
artificial  art  of  toe  dancing.  This  man-invented 
art  has  its  set  of  rules  that  must  be  followed 
if  the  effect  man  desired  is  to  be  produced.  He 
desired  something  with  the  most  exquisite  polish 
of  perfection — everything  to  be  just  so,  according 
to  the  pattern :  then  if  all  be  not  just  so  the  pat- 
tern is  lost.  One  thing  that  man  decided  was 
that  the  dancer  should  step  wnth  the  foot  turned 
out  for  daintiness.  Well  then,  she  must.  She 
must  also  bring  her  feet  together  so  that  they 
actually  touch  each  other  at  certain  times  to  give 
a  neat  and  finished  look.  Certain  movements  she 
must  make  very  small  and  fine.  Every  step  has 
its  certain  way  that  it  should  be  done,  and  it  un- 
doubtedly appears  at  its  best  when  done  that 
way.  It  is  just  as  with  baseball — the  rules  may 
be  highly  artificial,  but  without  the  rules  there  is 

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THE   CHALIF   TEXT  BOOK   OF  DANCING 

no  game.  When  a  dancer  follows  all  the  rules 
she  surely  does  acquire  a  certain  "finish."  But 
it  is  a  "dull  finish"  that  does  not  awaken  much 
enthusiasm  if  her  thoughts  are  on  details  of 
execution  while  she  is  doing  a  dance.  The  meri- 
torious accuracy  should  be  acquired  as  a  habit 
from  doing  exercises,  then  not  thought  of  while 
dancing. 

Even  in  teaching  exercises,  however,  the 
teacher  must  beware  of  harping  too  much  on 
accuracy,  for  herein  lies  the  danger  of  killing 
the  dancer's  soul  by  technique.  Accuracy  is 
always  taught  at  the  expense  of  freedom.  The 
student  may  acquire  the  habit  of  thinking  so  much 
about  the  disposing  of  her  body  that  she  can 
never  forget  about  it  and  give  her  soul  a  chance. 

Clarity  is  one  of  the  brightest  virtues  of  all 
dancing.  The  word  means  simply  that  whatever 
the  dancer  does  is  clearly  visible.  Clarity  shows 
up  the  differences  between  one  step  and  another, 
one  pose  and  another,  one  dance  and  another. 
Everything  looks  different,  firstly  because  every- 
thing is  different,  and  secondly  because  one  can 
see  that  it  is  dififerent.  The  principal  rule  for 
clarity  is  to  hold  each  position  of  foot  or  body 
long  enough  for  it  to  register  itself  in  the  mind  of 
the  beholder.  Do  one  thing  at  a  time  instead  of 
blurring  everything  together.  Another  simple 
rule    for   clarity    is   just   to    follow    the    music. 

34 


TECHNIQUE 


The  music  measures  off  the  steps  for  you  with 
all  the  accuracy  of  a  foot  rule.  All  you  have  to 
do  is  to  keep  a  certain  step  and  attitude  during 
certain  notes  and  wait  until  the  next  notes  come 
for  the  next  step  and  attitude.  Why  do  most  peo- 
ple always  anticipate  the  music,  thus  blurring 
their  dancing?  A  third  rule  is  to  have  a  clear 
picture  in  the  mind  of  how  you  want  the  step  and 
attitude  to  look.  Only  let  the  mind  be  your  leader 
and  your  dancing  will  be  intelligible. 

You  may  already  have  guessed  that  all  the  com- 
ponent parts  of  aplomb  are  included  in  this  pres- 
ent virtue  of  clarity.  There  must  be  perfect  poise, 
or  the  dancer  could  not  hold  an  attitude  for  its 
allotted  length  of  time,  and  the  unnecessary  extra 
movements  of  correcting  or  improving  an  attitude 
would  be  incompatible  with  clearness  and  defi- 
niteness.  Aplomb  we  had  to  mention  first  be- 
cause it  is  mainly  poise,  and  poise  is  the  first  re- 
quisite. Without  it  the  dancer  could  not  even 
stand  up,  let  alone  dance. 

Harmony  means  the  working  together  of  all 
parts  of  the  body  in  unison — all  working  in 
rhythm,  and  each  taking  its  part  in  the  picture 
that  the  body  as  a  whole  presents  in  each  move- 
ment. The  good  dancer  thinks  of  her  body  as 
being  all  of  one  piece,  as  it  were,  rather  than  a 
collection  of  arms  and  legs  each  of  which  must 
have  something  different  to  do.    The  toe  dancer, 

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THE   CHALIP   TEXT   BOOK    OF  DANCING 

especially,  may  get  to  thinking  that  she  is  nothing 
but  a  pair  of  legs  that  have  a  lot  of  difficult  things 
to  do.  But  she  should  remember  that  while  her 
legs  certainly  have  plenty  to  do,  their  crowning 
achievement  is  the  honor  of  carrying  around 
a  beautiful  living  statue  of  a  thousand  and  more 
poses,  they  themselves  being  a  part  of  the  statue. 

In  the  Chalif  Method  of  teaching  dancing,  we 
begin  at  the  very  first  lesson  to  teach  using  all 
parts  of  the  body  in  harmony,  keeping  in  mind 
certain  principles  of  harmonious  movement  and 
posture,  which  are  embodied  in  even  the  most  sim- 
ple exercises. 

"Lines"  is  a  subject  which  puts  the  author  in  a 
quandary  as  to  whether  to  put  it  under  the  head- 
ing Technique,  where  it  certainly  is  vitally  neces- 
sary, representing  control  of  the  body  as  a  whole, 
or  under  the  heading  Expression,  where  it  is  also 
vitally  necessary  since  large  lines  are  the  largest 
and  clearest  expression  there  is.  We  have  finally 
decided  to  put  it  here,  so  that  even  if  the  reader 
go  no  further,  he  will  know  a  little  at  least  of  the 
important  subject  of  "lines." 

We  cannot  enlarge  upon  the  subject  in  a  text 
book  of  toe  dancing,  tho  it  is  just  as  important 
here  as  anywhere,  for  there  is  not  space  enough 
in  one  book  to  go  into  detail  as  to  training  the 
toe  dancer's  legs,  and  do  justice  to  the  rest  of  her 

36 


TECHNIQUE 


body  too.  Our  Books  III  and  IV  deal  more  ex- 
tensively with  the  subject.  Let  it  suffice  to  say 
that  every  attitude  or  arabesque  should  have  in  it 
lines  which  pass  thru  the  whole  body,  making  a 
unified  composition  of  it,  instead  of  consisting  of 
unrelated  legs,  arms  and  a  torso,  which  take  any 
positions  they  happen  to  choose,  without  refer- 
ence to  each  other,  and  thus  fail  to  make  any  dis- 
tinct impression  of  an  attitude  upon  the  beholder, 
and  have  never  a  trace  of  beauty.  The  good 
dancer  thinks  of  her  body  as  a  whole,  and  molds 
it  into  whatever  design  her  mind  sees,  following  a 
plan,  just  as  the  artist  lays  out  his  figure  in  lines 
before  painting  it.  So  the  dancer  thinks  of  lines 
running  thru  her  body,  that  may  go  all  in  the 
same  direction,  or  intersect  each  other,  usually 
the  latter.  For  example  a  line  may  pass  thru 
the  head,  trunk  and  a  lifted  leg,  and  another  thru 
the  two  arms  and  the  shoulders,  these  lines  inter- 
secting at  the  middle  of  the  shoulders.  The  most 
beautiful  lines  are  straight  or  curved,  but  they 
may  be  broken  at  will,  and  with  a  plan,  for  the 
sake  of  certain  desired  effects.  They  must  never 
be  broken  merely  because  the  dancer  does  not 
know  how  to  make  them  otherwise.  Most  be- 
ginners, and  those  persons  who  are  called  un- 
graceful by  nature,  dance  with  broken  lines ;  but 
all  can  be  taught  to  do  better. 

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THE    CHALIF   TEXT   BOOK    OF   DANCING 

A  FEW  RULES  OF  LINES 

If  there  are  to  be  continuous  unbroken  lines 
there  must  be  action,  continual  action  of  twisting 
and  bending  in  the  trunk  and  neck. 

Think  in  terms  of  curved  or  straight  lines. 

Lines  should  have  the  accuracy  of  geometrical 
diagrams. 

Bend  sideward  toward  a  foot  which  is  lifted, 
whether  it  be  lifted  forward  or  back.  (This  rule 
has  exceptions,  e.g.,  the  position  used  in  jetes.) 

The  head  usually  bends  the  same  way  as  the 
trunk,  continuing  the  curve. 

Lift  the  chest  to  give  the  slight  arch  of  the 
back  which  beautifies  nearly  all  attitudes. 

Follow,  usually,  the  law  of  opposition,  which 
is :  That  arm  is  lifted  forward  which  is  opposite 
to  the  foot  that  is  forward.  But  of  course  in 
many  beautiful  attitudes  opposition  is  not  used. 

The  figure  should  usually  be  turned  a  little  to 
one  side  to  give  more  diversity  of  lines  and  avoid 
a  look  of  flatness  as  seen  from  in  front. 

Arms  should  be  held  at  shoulder  level  (ap- 
proximately) or  higher,  since  high  lines  express 
animation  and  self-confidence,  while  low  lines  ex- 
press indifference  or  even  melancholy.  Equally 
important  are  high  lines  in  the  carriage  of  the 
head  and  torso. 

Since  lines  are  an  expression  of  soul,  an  atti- 
tude often  comes  instinctively  in  response  to  a 

38 


TECHNIQUE 


thought,  and  coming  in  such  a  way  is  apt  to  be 
a  good  one,  worthy  of  studying  and  remembering. 

HABIT 

A  digression  into  the  field  of  psychology  seems 
necessary  here,  to  emphasize  the  importance  of 
the  details  of  technique  which  are  to  follow. 

Psychology  tells  us  that  habit  saves  us  a  vast 
amount  of  trouble ;  in  fact  we  could  not  exist  with- 
out it.  Most  of  the  things  that  we  do  are  habit- 
ual, and  even  unconscious.  If  we  had  to  think 
about  putting  one  foot  after  the  other  in  walking, 
or  about  chewing  our  food,  or  breathing,  we 
would  have  to  devote  all  our  thoughts  to  merely 
keeping  alive  and  never  be  able  to  talk  or  do  any 
creative  work. 

Psychology  tells  us  that  repetition  spells  habit, 
as  habit  spells  ease.  What  we  do  once  we  are 
likely  to  do  again;  having  done  it  twice  we  are 
still  more  apt  to  repeat  it,  and  so  on  until  if  we 
do  it  a  certain  amount  we  shall  be  sure  to  do  it 
always.  Hence  habits  are  the  blessing  as  well  as 
the  curse  of  our  existence,  for  there  be  bad  habits 
as  well  as  good,  and  if  we  do  an  exercise  wrong 
once  we  shall  do  it  wrong  again  and  so  on.  It 
behooves  us  then  to  always  do  it  right  from  the 
very  start,  until  a  habit  is  formed.  Particularly 
in  toe  dancing,  where  such  an  exact  standard  of 
execution  has  been  established,  we  must  be  care- 


39 


THE   CHALIP  TEXT  BOOK   OF  DANCING 

ful  from  the  very  beginning  to  form  the  habits 
that  are  prescribed.  Fortunately  these  are  good 
habits  for  all  dancing. 

There  are  certain  good  habits  of  movement  for 
each  part  of  the  body,  and  to  simplify  learning 
them,  there  are  exercises  for  each  part  alone. 
Since  there  are  so  many  good  habits  to  acquire 
they  could  not  possibly  be  learned  all  at  the  same 
time.  The  mind  cannot  think  of  so  many  things 
at  once.  When  Benjamin  Franklin  set  out  to  im- 
prove his  character,  he  made  up  a  list  of  all  the 
virtues,  and  at  first  tried  to  practice  them  all  at 
once,  only  to  find  that  he  had  scant  time  left  to 
attend  to  his  business,  but  made  no  progress  in 
character.  He  then  decided  to  practice  only  one 
virtue  a  week,  whereupon  his  character  immedi- 
ately began  to  improve.  This  man  of  deep,  scien- 
tific insight  discovered,  before  the  days  of  psy- 
chology, that  a  habit  can  be  formed  by  concen- 
trating on  one  action-pattern  for  a  certain  time. 
So  in  dancing  let  us  consciously  build  good  habits 
one  at  a  time,  which  will  then  work  unconsciously 
and  all  together  toward  the  goal  of  perfect 
dancing. 

DETAILS  OF  TECHNIQUE 

Having  given,  we  hope,  in  the  preceding  pages, 
a  broad  idea  of  technique  with  its  immediate  aim 
of  freedom  for  the  final  end  of  expression,  we  will 

40 


TECHNIQUE 


now  proceed  to  give  details  of  the  proper  positions 
and  actions  of  various  parts  of  the  body.  But  as 
we  set  out  on  the  road  to  perfection  we  should  first 
have  a  comprehensive  view  of  the  body  as  a  whole, 
and  realize  that  the  most  important  thing  for 
artistic  finish  in  toe  dancing,  or  any  dancing,  is 

CORRECT  POSTURE 

The  teacher  must  never  fear  harping  too  much 
on  this  point,  for  posture  pervades  every  move- 
ment of  the  dance ;  it  concerns  the  lines  of  every 
attitude  and  arabesque  taken ;  it  gives  beauty  and 
elegance  to  the  figure  itself;  it  seems  to  increase 
personality  even  to  the  point  of  transforming  an 
ordinary  mortal  into  a  heroine;  it  brings  "good 
style,"  and  it  gives  polish  and  a  high-bred  air  that 
make  a  dancer  shine  out  from  among  her  fellows 
who  have  neglected  to  cultivate  "presence."  All 
do  not  realize  the  importance  of  good  posture. 
Sometimes  a  mother  may  complain  that  too  much 
time  is  spent  on  cultivating  it  at  the  expense  of 
learning  difficult  feats.  But  when  she  will  see 
her  little  daughter  carrying  herself  like  a  princess, 
she  will  thank  the  teacher  for  his  perseverance. 
Even  you,  dear  reader,  do  not  fully  realize  the 
great  benefits  of  teaching  good  posture — unless 
you  have  tried  it. 

So  then  the  first  thing  to  do  is  to  see  that  your 
pupil  take  the  correct  position  while  standing  at 

41 


THE    CHALIF   TEXT   BOOK   OF   DANCING 

the  bar.  We  shall  describe  this  from  the  ground 
up.  The  feet  should  be  in  Fifth,  Third  or  First 
Position,  be  turned  out  as  far  as  is  possible  with- 
out straining,  and  the  weight  rest  squarely  on  the 
soles  of  both ;  but  since  the  tendency,  when  turn- 
ing the  feet  far  out,  is  to  stand  on  their  inside 
edges,  it  is  well  to  try  to  stand  on  the  outside 
edges,  since  this  effort  will  bring  the  weight  to  the 
center.  The  toes  should  be  prest  down  so  as  to 
''bite  the  floor,"  as  we  say  in  Russian.  The  knees 
should  be  absolutely  straight,  made  so  by  drawing 
the  figure  up  to  be  as  tall  as  possible  and  at  the 
same  time  pressing  the  knees  strongly  backward, 
holding  them  close  together.  There  should  be  a 
feeling  of  turning  out  the  knees,  even  tho  they  are 
straight,  and  of  narrowing  the  hips  by  bringing 
them  inward  and  backward,  but  by  no  means  al- 
lowing them  to  project  backward,  for  this  is  a 
grievous  fault.  Old  age  afflicted  with  lumbago 
walks  leaning  forward  with  hips  projecting  back- 
ward, a  feeble  hand  placed  there  for  support :  but 
youth  is  slim  and  straight,  carrying  herself  as  a 
young  goddess.  Old  age's  lines  are  broken; 
youth's  lines  are  straight.  It  is  most  important 
that  the  hips  should  face  forward,  counteracting 
the  tendency  to  twist  toward  the  rear  foot.  The 
shoulders,  too,  should  face  squarely  forward,  and 
be  held  at  an  equal  height,  thus  straightening  out 
any  slight  sideward  curvature  of  the  spine.     The 

42 


TECHNIQUE 


chest  should  be  well  lifted,  and  lifted  with  the 
thought  of  drawing  the  whole  body  up  to  be  tall. 
The  head  should  be  held  erect,  with  face  looking 
straight  forward.  The  legs  and  trunk  should 
form  a  continuous  straight  and  vertical  line,  the 
body  leaning  neither  toward  nor  away  from  the 
bar,  nor  forward  nor  back,  nor  breaking  the  line 
at  the  waist.  There  will  be  no  danger  of  violat- 
ing any  of  these  rules  of  vertical  standing  if  the 
one  rule  of  lifting  the  chest  to  draw  the  body  up- 
ward be  observed.  Lifting  the  chest  also  cor- 
rects bent  knees  and  backward  projecting  hips, 
and  broken  lines  in  general.  In  fact  lifting  the 
chest  cures  most  of  the  faults  of  bad  posture;  it  is 
the  panacea  for  all  ills.  So  be  buoyant,  be  alive 
and  full  of  hope  and  ready  for  action!  And 
finally,  relax,  that  is,  relax  the  upper  part  of  the 
body  and  the  arms,  but  keep  the  legs  energized 
and  strong.  Do  not  allow  the  face  to  become 
"set"  with  eyes  staring.  The  command  "Relax 
the  face!"  will  be  beneficial.  Try  it.  Its  first 
result  will  be  a  smile,  and  the  after  effect  a  pleas- 
ant serenity. 

Soon  we  shall  be  ready  for  an  exercise,  and 
with  it  will  come  the  difficult  but  important  task 
of  maintaining  correct  posture  while  doing  the 
exercise.  Of  what  use  would  beautiful  poise  be 
to  the  dancer  if  she  lost  it  the  moment  she  started 
to  dance !     So  the  teacher  must  compel  his  pupil 

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THE   CHALIF   TEXT  BOOK   OF  DANCING 

to  maintain  a  buoyant  erectness,  and  to  hold  the 
entire  body  motionless,  except  the  part  which 
works.  In  so  doing  he  will  first  of  all  preserve 
beautiful  posture;  secondly  will  teach  definite 
control  of  each  separate  part  of  the  body,  the 
mind  seeming  to  be  sent  into  each  to  take  posses- 
sion of  it;  and  thirdly,  he  will  teach  that  saving 
of  energy,  which  is  the  foundation  of  grace.  The 
pupil  will  find  it  extremely  difficult  at  first  to  move 
one  part  of  the  body  only.  When  moving  a  leg 
she  will  want  to  move  the  shoulders  or  hips,  or 
jiggle  the  whole  body,  thus  jerking  out  of  their 
place  the  beautiful  lines  of  good  posture.  But 
she  can  keep  quiet  if  she  concentrates  on  this 
while  relaxing  too.  And  when  she  has  held  her 
body  quiet  for  a  sufficient  length  of  time,  she  will 
have  established  that  independence  of  each  part 
of  the  body  which  is  the  first  step  toward  the 
harmony  of  motion  of  all  parts  together. 

,   "PLACING"  THE  LEGS 

is  a  term  that  dancers  use  for  the  turning  out  of 
the  legs  which  is  considered  so  important  in  all 
classical  dancing.  It  seems  to  beautify  dancing, 
adding  a  daintiness  and  charm;  yet  perhaps  we 
only  think  so  because  we  have  long  been  accus- 
tomed to  the  idea  that  it  does.  Everyone,  even 
the  layman,  knows  that  the  toes  should  turn  out, 
and  notices  whether  they  do  or  not.     One  virtue 

44 


TECHNIQUE 


turning  out  surely  has:  it  helps  greatly  to  bring 
freedom  at  the  hip-joint,  for  all  of  the  turning 
begins  at  this  point,  it  being  the  only  joint  of  the 
leg  that  can  rotate.  Students  often  fail  to  turn 
out  the  toes  sufficiently  in  doing  exercises  because 
they  do  not  know  the  following  secret:  they  try 
to  turn  the  foot  from  the  ankle  and  fail  to  do  so, 
whereas  if  they  thought  of  turning  the  entire  leg, 
they  would  succeed.  Another  thought  that  re- 
sults in  turning  out  is  "leading  with  the  heel." 
Persons  who  are  born  with  legs  "placed,"  i.  e., 
those  who  walk  with  the  toes  turned  out,  are  cer- 
tainly saved  a  great  deal  of  trouble  in  learning 
toe  dancing. 

Extreme  turning  out  when  actually  dancing  is 
not  beautiful  nor  desirable.  We  do  not  wish  to 
compete  with  "Charlie"  of  the  films,  who  walks 
with  his  feet  pointed  directly  sideward.  Yet  in 
doing  exercises  at  the  bar  we  must  all  take  this 
ridiculous  position  in  order  to  have  a  surplus  of 
turning  out  to  fall  back  upon  when  returning  to 
nature  in  dancing,  to  insure  not  returning  too  far, 
when  not  thinking  about  placing  the  legs.  Yet  for 
all  the  ease  in  turning  out  that  one  can  acquire 
at  the  bar,  one  must  still  think  of  stepping  with 
the  toe  out  until  the  habit  is  formed.  But  beware 
of  insisting  upon  dancing  with  feet  turned  out, 
without  teaching  exercises  to  make  them  so.    This 

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THE   CHALIF    TEXT   BOOK    OF  DANCING 

error  introduces  untold  awkwardness  and  affect- 
edness  in  dancing. 

The  best  place  to  acquire  turning  out  is  at  the 
bar,  since  more  extreme  positions  can  be  taken 
with  a  support  than  without.  But  do  not  begin 
by  insisting  on  extreme  positions,  for  this  will 
only  cause  unnecessary  lameness  and  perhaps 
discouragement,  and  in  addition  will  cause  bent 
knees  and  a  poor  standing  position.  Let  the 
teacher  insist  on  accuracy  at  first  and  turning  out 
to  a  certain  extent,  then  little  by  little,  insist  on 
more  turning  out  as  well  as  on  doing  exercises 
with  more  force.  To  get  additional  practice  in 
maintaining  a  turned  out  position  a  class  may 
stand  in  Fifth  Position  while  the  teacher  wanders 
about  among  them  correcting  faults  of  position, 
or  he  may  deliver  a  lecture  on  the  ideals  of  danc- 
ing, while  they  hold  their  position.  One  may  be 
sure  they  will  be  glad  when  the  lecture  comes  to 
an  end. 

THE  HIP-JOINT 
A  lack  of  freedom  here  is  the  most  frequent 
cause  of  awkwardness  in  dancing.  Any  pulling 
at  this  point  seems  to  pull  everything  else  out  of 
shape,  distorting  the  lines.  The  importance  of 
this  part  is  due  to  the  fact  that  all  movements  of 
the  legs  start  from  here,  whether  the  movement 
be  large  or  small,  since  even  a  small  movement 

46 


TECHNIQUE 


must  be  part  of  a  large  one  if  it  is  to  have  the 
much  desired  quality  of  majesty.  In  graceful 
walking  the  legs  swing  freely  from  the  hips, 
whether  the  steps  be  the  short  ones  of  the  lady, 
or  the  long  strides  of  the  cowboy. 

The  toe  dancer  in  particular  must  have  freedom 
at  the  hip-joint,  for  in  the  exaggerated  style  of 
toe  dancing  she  must  be  able  to  lift  (and  hold)  a 
leg  waist-high  in  any  direction.  These  large  leg 
movements  do  not  look  exaggerated,  but  only  fit- 
ting and  proper  and  in  the  character.  In  fact  the 
toe  dancer  who  does  not  lift  her  feet  high  is  in- 
efifective.  Her  attitudes  are  small  and  cramped 
looking;  she  labels  herself  a  beginner. 

Freedom  at  the  hip-joint  is  acquired  by  any  ex- 
ercise in  which  the  leg  is  lifted  high,  as  in  Grands 
Battements,  or  in  which  the  hip-joint  is  stretched, 
as  in  Plier,  or  in  which  the  legs  are  turned  out,  as 
in  all  bar  work. 

KNEES 

The  knees  should  be  straight,  strong,  supple 
and  quick.  Knees  make  or  mar  the  toe  dancer, 
for  if  her  knees  behave  properly  the  chances  are 
that  her  feet  will  too. 

Straight  knees,  in  addition  to  bringing  the  acme 
of  good  style  to  the  general  appearance,  do  actual- 
ly bring  the  ankles  and  arches  into  their  properly 
arched  position.     To  prove  this  statement,  point 

47 


THE    CHALIF   TEXT   BOOK   OF   DANCING 

your  toe  to  the  side  perpendicularly  with  knee 
bent,  then  keeping  the  toes  where  they  are, 
straighten  out  the  knee  and  observe  the  pushing 
out  of  the  ankle  and  arch.  When  we  emphasize 
straight  knees  we  do  not  mean  that  it  is  wrong 
to  bend  the  knees,  but  only  that  when  a  knee  is 
supposed  to  be  straight,  e.  g.,  when  standing  on 
the  point  or  ball,  it  should  be  absolutely  straight, 
and  not  almost  straight,  with  a  slight  bending  that 
implies  weakness  and  makes  a  broken  line  that 
mars  the  beauty  of  the  picture.  A  dancer  stand- 
ing properly  with  straight  knees  expresses  vigor 
and  strength,  while  even  slightly  bent  knees  ex- 
press weakness  and  spoil  the  whole  standing  posi- 
tion, causing  the  lowering  of  the  ankle  and  arch 
and  even  the  sinking  of  the  chest,  so  intimately 
connected  are  the  controls  of  all  the  parts  of  the 
body.  Not  only  must  a  supporting  knee  be 
straight,  but  often  a  lifted  leg  must  be  so  too,  par- 
ticularly if  it  be  lifted  backward.  The  way  to 
make  it  straight  in  this  latter  case  is  to  think  of 
lifting  the  leg  from  the  hip,  as  if  there  were  no 
knee.  The  expression  "stiff"  knee  should  never 
be  used,  for  stiffness  is  always  abhorrent. 
''Straight"  knee  is  the  word,  or  the  phrase  ''no 
knee  at  all." 

Strong  knees  usually  mean  strong  toes  and  in- 
variably mean  that  the  dancer  has  "spring"  in  her 
legs,  that  she  is  buoyant  and  can  leap  and  hop 

48 


TECHNIQUE 


high,  for  most  of  the  action  of  jumping  is  in  the 
knees — a  preliminary  bending,  then  a  sudden 
straightening.  Moreover,  much  of  the  force  used 
in  rising  onto  the  points  comes  from  a  bending 
and  straightening  of  the  knees,  often  so  sHght  as 
to  be  almost  invisible. 

Supple  knees,  aided  by  supple  ankles  and  arches, 
give  the  dancer  a  light,  velvety  step.  Supple 
knees  are  knees  that  bend  easily  whenever  they 
should  bend,  as  in  starting  a  jump  and  again  on 
landing  afterwards,  to  break  the  jar.  Knees  are 
springs  to  soften  the  dancer's  impact  against  the 
ground,  and  if  the  springs  are  strong  enough  they 
will  bend  just  enough  to  fulfil  their  purpose,  but 
not  enough  to  make  the  dancer  look  like  a  human 
frog,  with  bent  and  turned  out  knees. 

Quick  knees  are  obviously  just  as  important  for 
leaping  and  hopping  as  are  strong  and  supple 
knees.  They  must  do  their  part  with  lightning 
rapidity,  especially  in  those  small,  almost  invisible 
movements,  as  in  rising  onto  the  points,  when  the 
work  must  be  done,  then  the  effort  instantly  cov- 
ered up  and  the  good  style  of  straight  knees  re- 
sumed. Another  time  when  quick  knees  are 
needed  is  in  the  many  quick  little  movements  of 
the  leg  from  the  knee  down,  as  in  the  little  beats 
around  the  ankle,  the  fouettes  (quick  bending  and 
straightening  of  a  lifted  leg)  and  all  the  little 
movements  of  the  feet  that  adorn  toe  dancing  and 

49 


THE   CHALIF   TEXT   BOOK   OF  DANCING 

make  the  feet  twinkle  and  flash.     Quick  knees 
mean  quick  feet. 

These  good  quaHties  of  knee  action  are  all  ac- 
quired by  much  the  same  exercises.  In  brief, 
Plies  make  strong  and  supple  knees.  Keeping  the 
knees  really  straight  in  doing  bar  exercises  when- 
ever they  should  be  straight  makes  for  straight 
knees,  as  also  does  any  exercise  that  stretches  the 
knees,  as  grands  battements,  or  placing  a  foot  on 
top  of  the  bar,  or  practicing  Plier  on  one  foot  with 
the  other  leg  straight.  Quick  knees  are  developed 
mainly  by  practicing  petits  battements  sur  le  cou 
de  pied. 

THE  FEET 

For  toe  dancing  the  feet  must,  of  course,  be 
strong,  and  properly  arched  and  turned  out. 
Strength  will  always  be  considered  first  if  we 
realize  that  the  whole  weight  of  the  body  must  be 
borne  on  those  little  toes,  and  the  little  bones  of 
the  arch.     Nothing  is  so  important  as  strength. 

In  bringing  the  foot  to  the  well  arched  and 
stretched  position  of  the  toe  dancer  many  joints 
are  concerned,  in  the  ankle  and  the  several  joints 
of  the  arch  and  toes.  The  beginning  of  the  down- 
ward pointing  of  the  foot  is  in  the  ankle,  which 
should  be  straightened  out  as  far  as  possible,  or, 
what  better  conveys  the  idea,  should  be  pushed 
outward  when  pointing  the  toe  or  standing  on  it. 

50 


TECHNIQUE 


Many  dancers  and  teachers  do  not  understand 
the  necessity  of  this  ankle  action  which  is  so  effica- 
cious in  bringing  the  foot  to  its  right  position. 
And  action  here  is  comparatively  easy  and  safe, 
for  the  ankle  is  not  delicate  as  the  arch  is.  The 
second  factor  in  the  downward  pointing  is  the 
arch  which  continues  the  ankle  action,  in  pushing 
outward  and  curving  downward  to  make  a  beauti- 
ful curve  from  ankle  to  toe.  The  toes  themselves 
should  not  be  curved,  however;  they  should  be 
perfectly  straight  and  perpendicularly  placed,  the 
dancer  standing  on  the  very  tips,  not  on  the  balls, 
nor  on  the  backs  of  the  toes  with  toes  curved 
under.  This  latter  position  means  weak  toes  that 
will  eventually  give  out.  Remember  that  strong 
toes  are  perpendicularly  placed,  energized,  and 
also  brought  all  together  in  a  bunch  inside  the 
shoe  so  that  they  may  brace  against  each  other 
and  sustain  each  other.  The  slogan  of  the  toes 
should  be,  "United  we  stand;  divided  we  fall." 

Wrong  practice  of  petits  battements  by  bending 
the  toes  under  when  pushing  the  ankle  and  arch 
outward,  weakens  the  toes  and  teaches  them  to 
curl  under  when  standing  on  the  points. 

To  sum  up,  the  correct  position  for  standing 
on  the  points  is:  ankle  and  arch  to  be  out,  toes 
straight,  perpendicular  and  bunched  together, 
and  the  foot  turned  out  so  that  more  of  the  toes 
can  take  the  weight,  rather  than  turning  the  foot 

51 


THE    CHAUP   TEXT   BOOK   OF   DANCING 

in  and  so  putting  all  the  weight  onto  the  big  toe, 
which  is  too  much  responsibility  for  one  toe,  and 
tends  to  make  it  give  way  and  bend  sideward,  en- 
larging the  joint. 

There  is  a  certain  simple  but  magical  exercise 
that  does  everything  needful  for  the  feet.  It 
brings  enormous  strength  and  a  correct  position 
for  standing  on  the  points.  This  magic  exercise 
is  petits  battements,  but  do  not  imagine  that  its 
magic  can  work  with  a  few  executions.  Thou- 
sands are  required.  An  eminent  physical  educa- 
tor has  said  that  greater  and  more  enduring 
strength  is  developed  by  doing  a  simple  exercise 
many,  many  times,  than  by  severe  exercises.  The 
toe  dancer  proves  this  statement  by  the  astonish- 
ing strength  of  her  feet  and  legs,  which  is  devel- 
oped little  by  little  as  she  does  exercises  that  the 
gymnast  would  consider  simple.  It  may  be  said 
that  she  gains  strength  while  doing  battements  or 
similar  exercises,  and  spends  her  strength  while 
doing  the  really  violent  exercise  of  standing  on 
the  points.  It  stands  to  reason  therefore  that  a 
large  proportion  of  time  should  be  spent  in  exer- 
cises that  are  not  on  the  points,  so  that  she  may 
not  only  acquire,  but  preserve  her  strength.  When 
a  dancer's  toes  become  tired  or  get  into  bad  habits 
of  position,  they  should  be  rested  for  a  week  or 
two  by  keeping  off  the  points,  but  without  stop- 
ping practicing  exercises;  for  petits  battements 

52 


TECHNIQUE 


are  the  remedy  for  almost  everything.  Follow- 
ing the  same  rule  beginners  should  be  kept  off  the 
points  for  a  very  long  time,  the  longer  the  better, 
so  that  they  may  lay  a  very  firm  foundation  of 
strength.  It  is  very  difficult,  however,  to  follow 
this  ideal  but  slow  method  of  teaching  toe  danc- 
ing, especially  here  in  America,  where  people  want 
to  do  everything  quickly.  Petits  battements 
when  practiced  correctly,  teach  standing  correctly 
on  the  points  because  the  arched  and  turned  out 
position  and  the  direction  of  energy  toward  the 
toes  are  the  same  for  both  the  exercise  and  the 
point  position.  The  good  habit  formed  by  the 
easy  exercise  holds  over  for  the  difficult  one. 

;Some  stretching  is  usually  necessary  to  bring 
the  foot  to  the  proper  position,  tho  a  person  with 
a  naturally  high  arch  does  not  need  to  have  it 
stretched.  Stretching  should  always  be  under- 
taken with  great  caution,  for  as  noted  before,  it 
tends  always  to  weaken.  Quick  progress  may 
seem  to  be  made  at  first  by  much  stretching  to 
bring  the  foot  quickly  to  its  position,  and  by  too 
much  standing  on  the  points,  but  afterwards  the 
arch's  strength  may  give  out,  and  premature 
progress  end  in  failure  or  disaster.  The  toe 
dancer  must  be  built  slowly.  Stretching  should 
be  done  little  by  little,  and  always  exercises  for 
strength  should  go  hand  in  hand.  In  exercises 
for  stretching,  the  floor  is  used  as  an  opposing 

53 


THE    CHALIF   TEXT   BOOK   OF  DANCING 

force  by  placing  the  toes  on  the  floor  and  pushing 
outward  or  downward,  as  the  case  may  be.  But 
it  should  always  be  borne  in  mind  that  the  floor 
is  only  a  temporary  aid ;  that  eventually  the  foot 
must  be  able  to  bring  itself  to  the  properly 
stretched  position  by  its  own  strength.  Strength, 
as  we  said  before,  is  the  first  and  last  need  of  the 
toe  dancer. 


54 


EXPRESSION 

It  is  commonly  supposed  that  in  toe  dancing 
there  is  not  much  chance  for  expression,  and  there 
is  some  truth  in  the  assertion,  for  toe  dances  are 
often  mere  collections  of  steps  that  have  no  mean- 
ing in  themselves,  and  offer  no  place  for  the 
strongly  dramatic.  Yet  one  should  remember 
that  it  is  never  necessary  to  express  concrete 
ideas  in  order  to  be  expressive.  Expression  itself 
is  too  great  and  intangible  to  be  confined  to  story 
telling.f  There  are  qualities  and  moods  that 
are  perfectly  definite  as  ideas,  and  are  in 
themselves  lovely  and  all-sufficient.  Take  for 
instance  vivacity,  capriciousness,  spriteliness, 
languor,  vim,  daintiness, — these  are  all  charm- 
ing manifestations  of  life.  It  is  well  for  the 
dancer  to  use  her  imagination  in  deciding  for 
herself  what  word  represents  to  her  the  spirit 
of  her  dance  and  its  music,  then  fill  herself  so 
full  of  this  idea  that  it  will  color  her  every  move- 
ment and  fill  every  expression,  and  make  not  a 
dance  of  mere  steps,  but  a  beautiful  and  definite 
thing  of  life.  Imagination  can  do  untold  wonders 
in  dancing  as  in  everything  else  in  life.     Whole 

t  Every  cover  of  the  "Saturday  Evening  Post"  may  tell  a  story;  but 
the  highest  form  of  art  is  not  the  depiction  of  action  nor  even  of  emotion, 
but    is    the    depiction    of    character. 

55 


THE    CHALIF   TEXT   BOOK   OF  DANCING 

volumes  could  be  written  about  imagination,  but 
we  will  omit  the  volumes,  and  merely  say  that 
imagination  or  the  lack  of  it  makes  a  dancer  inter- 
esting or  uninteresting.  Whatever  possibilities 
the  dancer  is  able  to  see  for  herself  in  a  dance,  she 
will  be  able  to  show  to  others.  And  she  has  will- 
ing servants  ever  with  her  to  carry  out  her  ideas, 
in  her  arms,  feet,  face,  head,  in  fact  the  whole 
body,  working  individually  or  all  together  to  make 
"pictures"  that  are  expressive  of  thoughts. 

Another  factor  that  comes  into  the  expressing 
of  a  dance  is  its  companion,  the  music  to  which  it 
is  composed.  The  dance  has  always  her  sister 
music  as  an  ally.  The  music  inspires  and  influ- 
ences the  dancer,  and  she  can  borrow  its  expres- 
sion to  make  it  her  own  (which  is  really  most  un- 
fair to  the  composer  of  the  music,  and  to  the  musi- 
cian who  interprets  it,  since  the  dancer  receives  all 
the  attention;  it  is  another  instance  where  "to 
him  that  hath  shall  be  given").  The  more  ex- 
pression the  musician  puts  into  the  music,  the 
more  expression  the  dancer  seems  to  acquire.  But 
let  not  Music  be  jealous  of  her  twin  sister  Danc- 
ing, for  when  she  inspires  her  to  dance,  she  is 
only  proving  her  own  wondrous  power.  If  Danc- 
ing has  no  idea,  she  need  only  give  herself  up  to 
Music  wholly  to  acquire  a  meaning  for  herself, 
and  change  herself  measure  by  measure  with  the 
changing  moods  of  Music,  like  a  day  in  April. 

56 


EXPRESSION 


When  Music  plays  a  merry  tune,  Dancing  can 
drum  it  out  with  the  tips  of  her  toes,  pretending 
that  she  is  making  it  herself,  and  showing  its 
laughing  cadence  in  her  face.  So  give  good  music 
played  by  an  expressive  musician,  and  danced  by 
a  musical  dancer,  and  who  will  dare  say  then  that 
there  isn't  expression  in  toe  dancing! 

Most  dancers  however  are  not  merely  musi- 
cians dancing  in  time,  but  are  thinking  people 
who  reflect  a  certain  thought,  or  should  reflect  it. 
The  thought  may  be  about  a  character  to  be  de- 
picted, as  a  coquette,  or  about  a  mood  like  joy  or 
mischief,  or  just  a  quality  like  daintiness.  How  to 
interpret  these  things,  the  dancer  knows  partly 
from  her  own  instincts  and  partly  from  having 
observed  the  world  around  her.  Nature,  of  course, 
is  the  great  source  of  inspiration  to  us  mortals. 
We  can  well  afford  to  imitate  Her  if  we  wish  to 
give  true  significant  interpretations.  Nature  can 
outdo  us  in  whatever  we  try  to  do  in  any  field, 
be  it  mechanics  or  art  or  whatsoever.  So  if  we 
are  wise  we  will  observe  Nature's  way  of  doing 
whatever  it  is  we  wish  to  do,  and  learn  from  her 
how  to  do  it  best. 

Suppose  it  is  daintiness  that  we  wish  to  depict. 
What  is  it  in  Nature  that  moves  most  daintily? 
Why,  a  bird,  of  course,  as  he  hops  about  or 
perches  on  a  twig.  He  evinces  the  ideal  of  stac- 
cato movement.     Notice  how  he  makes  a  little 

57 


THE    CHALIF   TEXT   BOOK    OF   DANCING 

hop,  then  stops,  takes  another  hop,  and  waits, 
cocks  his  head  on  one  side  to  look  at  something 
out  of  one  eye,  stops,  looks  out  of  the  other  eye 
and  pauses  again,  gives  a  little  peck  at  it,  waits, 
pecks  again,  hops  a  little  farther,  and  so  on  all 
day  long,  never  hurrying  yet  quick  as  a  flash. 
Study  him,  little  ballet  girl.  You  will  see  that 
his  movements  are  very  graceful  for  all  their 
swiftness,  and  most  distinct  and  easy  to  be  seen 
from  being  punctuated  by  pauses,  while  his  steps 
are  as  light  and  soft  as  his  feathery  body.  He  is 
daintiness  itself,  even  if  he  is  only  a  little  brown 
sparrow.  Get  down  on  your  knees,  proud  little 
ballet  girl  in  your  elaborate  dress,  and  study  this 
humble  little  sparrow  to  learn  how  to  be  dainty. 
Suppose  you  wish  to  express  the  beauty  of 
youth  and  innocence.  What  in  Nature  expresses 
it  best?  Why,  a  lamb,  of  course !  It  has  become 
to  us  the  symbol  of  innocence,  with  its  mild,  trust- 
ful eyes  and  its  guileless  little  white  face.  One 
cannot  look  at  it  without  wanting  to  kiss  it  as  a 
blessing  on  its  innocence.  And  its  playful  gam- 
bols, by  which  it  shows  its  joy  at  finding  itself  in 
so  beautiful  a  world,  how  these  gambols  have 
amused  and  delighted  mankind  all  down  thru  the 
centuries !  What  could  be  more  adorable  than  a 
lamb!  The  little  ballet  girl  will  do  well  to  try 
to  emulate  its  way  if  she  be  petite  and  chubby  and 
adorable  herself.     If  she  succeeds  she  too  will 

58 


EXPRESSION 


SO  delight  and  bless  the  world  with  her  innocent 
playfulness  that  no  one  will  be  able  to  resist  her, 
from  the  enthusiastic  young  gentleman  to  the  se- 
date matron  who  doesn't  as  a  rule  care  for  danc- 
ing. For  all  the  world  adores  youth  and  inno- 
cence, and  in  this  little  dancer  they  see  it  un- 
touched by  the  world. 

But  the  sprite  of  our  opening  chapters  remains 
to  us  the  most  exquisite  role  for  the  toe  dancer. 
This  lovely  creature,  scarcely  human  in  her  light- 
ness, who  has  strayed  out  of  fairyland  into  our 
own,  carries  about  her  yet  the  atmosphere  of  that 
other  and  enchanted  land.  She  charms  our  imag- 
ination and  sets  it  free  to  go  on  journeys  of  its 
own  to  other  worlds ;  and  when  the  dance  is  over, 
and  the  fairy  gone,  and  we  come  back  to  this  our 
world  again,  we  still  can  hear  the  echoes  from  that 
other  land,  and  feel  ourselves  refreshed,  with  hope 
renewed.  This  is  the  most  that  any  dancer  can 
do  for  us :  to  take  us  away  and  bring  us  back  re- 
freshed. 

MAJESTY 

Whatever  role  the  dancer  take,  or  whatever 
mood  she  interpret,  one  quality  her  dancing  must 
have  if  she  is  to  be  preeminent.  That  quality  is 
the  majesty  that  makes  her  the  heroine  or  the 
aristocrat.  If  she  take  the  role  of  sprite,  she 
must  be  not  a  sprite  but  the  sprite — the  queen  of 

59 


THE   CHALIF   TEXT   BOOK   OF   DANCING 

all  Sprites;  if  she  be  the  melancholy  maid,  she 
should  seem  a  princess  in  distress ;  even  if  she  be 
just  bird-like,  she  should  seem  the  leader  of  the 
flock.  She  must  always  seem  the  best  of  her 
kind,  for  is  not  the  dancer  really  the  best  of  the 
human  race  insofar  as  she  presents  strength  and 
beauty  of  motion,  posture  and  form?  The  qual- 
ity of  majesty  is  not  only  a  natural  outgrowth  of 
the  dancer's  high  respect  for  dancing  and  confi- 
dence in  herself  as  its  worthy  exponent,  but  this 
majesty  is  carefully  cultivated  in  the  ballet  school 
in  all  branches  of  dancing,  even  in  the  dainty  and 
feminine  toe  dancing,  which  would  be  ineffective 
without  it.  Majestic  movement  is  taught  contin- 
ually in  the  classical  ballet,  even  in  its  exercises. 
Grands  Battements,  Ronds  de  Jambe  and  the  like 
are  done  with  a  large  and  generous  swing,  as  if 
to  do  them  were  something  really  worth  while. 
The  carefully  cultivated  erect  bearing  and  buoy- 
ant, uplifted  mien  surely  suggest  the  heroic,  while 
the  hurling  of  the  body  into  the  air  in  leaping, 
the  audacious  whirling  of  pirouettes  and  other 
difficult  physical  feats,  certainly  suggest  the  brav- 
ery and  daring  of  a  heroine.  And  in  the  quieter 
phases  of  the  dance,  majesty  shows  itself  in  arm 
movements  that  are  large,  free,  generous,  ample, 
expressing  the  noble  thoughts  of  the  mind.  The 
dancer  with  majesty  has  no  petty  feelings  and  lit- 
tle fears  to  inhibit  her  motions.     Her  thoughts 

60 


EXPRESSION 


go  into  the  world  borne  on  free  and  generous  ges- 
ture. 

EXPRESSION  VERSUS  AFFECTION 

Which  do  you  like  better  to  see,  a  iace  with  the 
real  bloom  of  youth  upon  it,  warm,  red  blood 
under  a  clear  skin,  or  the  kind  of  youth  that  is 
bought  in  the  corner  drug  store,  and  plastered  on 
in  a  set  design,  patterned  after  a  chromolitho- 
graph of  pink  and  white  perfection,  one  that  all 
the  young  ladies  try  to  copy,  try  to  look  just  like, 
so  that  all  of  them  look  just  like  each  other.  The 
color  in  our  first  young  lady's  face  can  come  and 
go,  and  we  never  tire  of  watching  its  changes ;  but 
the  other  young  lady's  color  is  set  and  standard- 
ized— when  once  we  have  seen  her  we  know  all, 
and  need  not  look  again.  The  essential  difference 
between  the  color  of  the  two  young  ladies  is  that 
one  comes  from  the  inside,  and  the  other  from  the 
outside.  And  this  is  precisely  the  difference  be- 
tween expression  and  affectation:  one  is  nature 
and  the  other  is  a  contraption.  Expression  is  the 
feeling  in  the  heart  coming  thru  to  the  surface. 
It  shows  the  difference  of  feelings  of  one  breast 
from  those  that  fill  others.  It  is  these  differences 
of  emotion  and  thought  that  make  up  different 
personalities,  and  personality  is  that  delightful 
and  inexhaustible  study  that  interests  the  whole 
world.    One  personality  may  be  more  attractive 

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THE    CHALIF   TEXT   BOOK   OF   DANCING 

to  an  audience  than  another,  but  what  an  audience 
always  wants,  unconsciously,  to  know,  is  what 
this  person  who  is  dancing  before  them  is  really 
like.  And  if  she  reveals  her  true  self  she  will  al- 
ways be  interesting.  If,  however,  she  is  so  cov- 
ered up  with  standardized  mannerisms  (is 
affected,  in  other  words),  that  her  real  self  is  in- 
visible, her  audience  is  not  much  interested  in  her, 
and  just  sets  her  down  as  ''one  of  the  dancers." 

The  teacher  has  a  responsibility  in  this  matter 
of  preserving  individuality.  He  (or  she)  must 
be  very  careful  about  telling  or  showing  pupils 
exactly  what  to  do,  and  having  them  imitate  him. 
Expressions  that  are  perfectly  natural  for  him  to 
do,  and  which  come  from  his  heart,  may  not  be 
natural  for  them,  but  instead  be  affectations. 

There  is  certainly  very  apt  to  be  affectation  in 
toe  dancing  as  the  result  of  the  further  fact  that  a 
certain  set  of  mannerisms  in  the  way  of  using  the 
arms  and  feet,  and  certain  little  tricks  of  facial 
expression  have  been  taught  for  years  and  years, 
being  handed  down  from  one  teacher  to  another. 
These  little  ways  were  undoubtedly  pleasing  in  the 
charming  dancer  who  originated  them,  but  they 
have  grown  stale  from  over-use,  and  should  be 
discontinued.  We  believe  that  the  world  would 
welcome  a  change  to  naturalness.  There  is  a 
strong  tendency  in  dancing  at  present  to  go  back 
to  nature,  which  always  means  a  revivifying,  re- 

62 


EXPRESSION 


vitalizing.  If  any  art  does  not  go  back  to  nature 
once  in  a  while  (or  constantly)  it  becomes  stale 
and  standardized,  and  in  danger  of  death.  Now 
dancing  on  the  points  has  no  kinship  with  Nature, 
but  the  personality  and  individuality  of  the  dancer 
are  a  part  of  Nature,  and  must  be  religiously  pre- 
served if  toe  dancing  is  to  be  kept  alive  at  all,  or 
in  existence.  Even  a  slight  return  to  Nature  can 
somewhat  revitalize  an  art.  We  believe  that  the 
day  of  the  standardized  Dresden  Shepherdess  toe 
dancer,  with  her  absolute  perfection,  and  absolute 
sameness  of  arm  movement  and  manner  is  passing 
away.  The  world  prefers  a  living  personality. 
So,  teachers,  if  you  wish  your  toe  dancing 
pupils  to  be  cute,  don't  show  them  how,  nor  even 
tell  them  to  be  cute.  Just  let  them  alone,  and  the 
daintiness  itself  of  walking  on  the  points,  com- 
bined with  the  daintiness  of  the  music,  will  in  time 
make  each  one  evolve  a  cuteness  of  her  own,  un- 
consciously, which  will  be  exactly  suited  to  her 
own  personality,  and  will  be  far  more  adorable 
than  any  little  tricks  you  could  teach  her. 

SPONTANEITY 

This  is  the  jewel  that  sparkles  most  brightly  in 
the  dancer's  crown  of  perfection.  When  dancing 
before  an  audience  the  dancer  should  let  herself 
go  in  such  free  and  natural  abandon  that  she 
seems  to  be  making  up  her  dance  as  she  goes 

63 


THE   CHALIP   TEXT   BOOK   OF  DANCING 

along.  Technique  and  the  steps  should  be  for- 
gotten— oh,  no,  we  do  not  mean  quite  that:  it  is 
always  a  tragedy  to  forget  the  steps — we  mean 
that  the  steps  should  remember  themselves  as  a 
result  of  long  practice,  and  that  the  dancer  should 
not  even  think  hozv  she  does  them.  All  of  her 
attention  should  be  on  interpreting  the  spirit  of 
the  dance  itself.  Correctness  of  execution  should 
have  been  acquired  previously  thru  exercises  and 
to  some  extent  while  practicing  the  dance,  but  all 
studiedness  should  be  thrown  to  the  winds  while 
dancing  the  dance. 

Who  likes  to  see  an  attractive  young  girl  danc- 
ing with  a  set  and  anxious  face,  a  worried  face 
which  her  sister  dancers  can  read  like  an  open 
book?  It  seems  to  say,  "Oh,  I  must  be  sure  to 
finish  in  Fifth  Position  this  time.  Oh,  dear,  I  did- 
n't. How  awfully  I  must  be  doing.  But  at  least 
I  am  turning  my  knees  far  out.  It  must  look 
wonderful.  I  am  lifting  my  leg  backward  high 
too.  I  mustn't  forget  to  smile  while  I  do  these 
difficult  brises.  Oh,  I  am  so  exhausted,  I  don't 
know  how  I  will  ever  live  thru  that  awfully  hard 
part  that's  coming  next.  Oh  dear,  I  messed  it  all 
up.  But  this  part  is  easy;  now  I  will  be  able  to 
turn  my  toes  out  really  far,"  etc.,  etc.,  until  at  last 
the  agony  is  over.  Then  follows  more  agony  upon 
hearing  indifferent  applause.  Yet  how  can  any 
audience  thrill  to  a  dancer  with  such  thoughts  as 

64 


EXPRESSION 


these?  If  this  same  deluded  dancer  had  chosen 
a  dance  that  was  not  too  difficult  for  her,  and 
could  grasp  the  idea  of  "The  dance  is  the  thing," 
she  might  have  made  a  success  instead  of  a  fail- 
ure. It  is  undoubtedly  true  that  her  technique 
would  have  lost  in  accuracy  thru  lack  of  special 
attention,  but  her  dancing  on  the  whole  would 
have  gained  immeasurably,  for  it  would  have 
risen  from  a  mere  succession  of  exercises  to  the 
poetry  of  motion,  and  she  herself  would  have  be- 
come a  personality  instead  of  a  nonentity.  Of 
course,  we  should  regret  the  loss  of  accuracy,  but 
the  point  is  this :  that  when  performing  in  public 
she  should  stand  or  fall  by  her  present  habits  in 
technique.  When  she  has  studied  longer  she  will 
have  formed  better  habits,  and  will  perhaps  have 
accuracy  (without  thinking  of  it)  as  well  as  ex- 
pression and  personality.  At  all  stages  of  devel- 
opment she  must  have  the  two  latter  qualities,  and 
should  have  all  the  other  good  qualities  too  before 
she  dances  in  public.  Yet  in  the  "get  ahead  fast" 
spirit  of  the  present  day,  when  all  artists  make 
their  debuts  too  early,  it  is  comforting  to  remem- 
ber that  spontaneity  covers  a  multitude  of  sins. 

SINCERITY 

The  last  as  well  as  the  first  word  in  talking 
about  expression  in  dancing  or  in  any  art  should 

65 


THE   CHALIF   TEXT   BOOK   OF  DANCING 

be  Sincerity.  The  performance  must  ring  true. 
The  dancer  must  really  feel  the  idea  of  the  dance, 
for  if  she  does  feel  it  she  will  surely  express  it. 
She  will  then  seem  the  embodiment  of  a  thought 
— an  idea  come  to  life.  The  idea  will  be  like  an 
inner  light  that  shines  thru  the  body  to  be  seen 
clearly  by  all,  and  to  glorify  dancer  and  dance. 
It  is  most  interesting  to  watch  this  light  go  out 
when  the  dancer  becomes  absentminded,  or  for- 
gets her  steps,  and  then  to  see  the  light  come  on 
again  when  she  presently  recovers  herself. 

It  seems  that  this  light  is  the  dancer's  very  self, 
her  life  or  soul.  Actors  seem  to  think  some  such 
thing.  They  use  the  expression  "getting  inside 
of  the  part" ;  so  dancers  might  say  "getting  inside 
the  dance."  If  the  dancer  does  get  inside  the 
dance  it  will  almost  certainly  be  a  successful  per- 
formance, no  matter  how  well  or  poorly  she  may 
do  it  otherwise,  for  it  will  be  a  thing  of  life, — the 
dancer's  own  life  will  seem  to  be  its  propelling 
force — and  the  onlooker  will  feel  that  before  him 
is  something  real  and  vital.  Every  dancer  has 
life  (or  she  would  be  a  corpse)  :  call  it  soul  if  you 
like.  And  she  must  learn  to  put  her  life  into  her 
dance,  or  rather  to  relax  and  allow  her  life  to  flow 
into  it,  by  giving  herself  up  completely  to  the 
dance's  central  idea. 

Dancing  thus  in  a  beautiful  abandon  the  artist 

66 


EXPRESSION 


tells  the  truth  about  the  dance,  about  herself,  and 
all  her  love  for  dancing,  and  so  rejoices  and  re- 
freshes those  who  watch  her. 


67 


NOTES  ON  TEACHING 

In  giving  the  first  lessons  to  a  class  in  toe  danc- 
ing, proceed  very  slowly,  trying  to  form  perfectly 
correct  habits  from  the  start.  Teach  the  class  the 
ideal  foot  positions  not  only  by  showing  them  with 
your  own  feet,  but  by  walking  around  the  class 
and  taking  hold  of  the  foot  of  each  one  individu- 
ally and  placing  it  as  it  should  be.  Grasp  the  heel 
with  one  of  your  hands  and  the  toe  with  the  other, 
then  turn  the  foot  out  while  stretching  it  down, 
then  release  the  toe  and  use  the  hand  to  straighten 
the  knee,  if  necessary.  Think  how  well  you  must 
understand  this  position  yourself,  before  attempt- 
ing to  force  it  upon  another !  The  pupil  will  thus 
get  the  "feel"  of  the  correct  position  even  tho  she 
cannot  hold  it  after  you  let  go,  and  will  know 
what  to  try  to  do.  This  planting  of  the  idea  is 
most  important.  If  more  strenuous  effort  is 
needed  to  turn  the  leg  out,  grasp  the  knee  with 
both  hands  and  twist  it.  You  will  find  that  you 
get  more  exercise  than  the  pupil  does,  but  she  will 
reap  the  benefit.  This  actual  placing  of  the  feet 
should  be  continued  until  you  see  that  the  class 
takes  positions  at  least  as  correctly  as  they  can, 
having  caught  the  idea.  Do  not  discourage  them 
by  telling  them  that  after  25  years  they  may  be 

68 


NOTES  ON  TEACHING 


Still  trying  to  reach  the  ideal  position !  (Dancers, 
even  after  they  become  famous  often  take  a  teach- 
er with  them  to  insist  upon  their  taking  their  posi- 
tions correctly,  as  well  as  their  working  with 
energy.) 

Which  closed  position  to  use  (First,  Third  or 
Fifth)  in  teaching  bar  exercises  depends  upon  the 
age  and  degree  of  advancement  of  a  class.  For 
children  who  are  beginners  in  dancing  the  First 
should  certainly  be  used,  because  it  is  the  easiest 
to  do  and  to  understand.  Soon,  however,  they 
may  be  promoted  to  Third  Position,  which  is  more 
beautiful,  and  later  on  perhaps,  graduate  to  Fifth. 
Using  Fifth  Position  at  first  would  be  too  much 
of  a  strain  on  their  legs.  Older  children  or 
adults  may  use  Third  Position  at  the  start  or  even 
Fifth  if  they  have  had  dancing  of  some  sort  be- 
fore, that  has  prepared  their  legs  for  hard  work. 
As  soon  as  these  more  advanced  pupils  have  ac- 
quired accuracy  in  the  elementary  exercises  they 
may  be  given  combinations  of  these  to  stimulate 
their  interest. 

Inspiring  a  class  to  practice  with  energy  is  the 
second  necessity  in  teaching  toe  technique,  the 
first  being  accuracy.  A  class  will  get  more  bene- 
fit from  doing  an  exercise  a  few  times  with  great 
energy  than  many  times  in  a  half-hearted  way, 
and  will  not  use  up  as  much  time  and  strength 
either.     When  pupils  practice  without  a  teacher 

69 


THE    CHALIF   TEXT   BOOK   OF   DANCING 

they  do  not  gain  so  much  strength,  because  noth- 
ing inspires  them  to  use  their  energy.  A  certain 
pupil  of  ours  complained  that  it  was  impossible 
to  get  lame  by  home  practice. 

With  energy  another  virtue  comes  very  natu- 
rally— thoroness.  This  is  doing  an  exercise  com- 
pletely; if  a  foot  is  to  be  lifted,  to  lift  it  high; 
if  to  be  stretched,  stretching  it  well;  if  to  finish  in 
Fifth  Position,  not  cheating  by  doing  a  "near" 
Fifth  Position. 

To  tell  how  to  make  the  class  do  exercises  with 
vim  is  a  problem.  Why  do  horses  run  when  one 
man  holds  the  reins,  and  only  amble  along  when 
another  drives?  It  is  largely  a  matter  of  person- 
ality in  both  driving  and  teaching.  But  a  few 
helps  should  be  noted.  A  brisk  command,  be  it 
only  saying  the  word  "and"  to  start  the  music  will 
do  more  than  many  well  phrased  sentences  about 
the  advantages  of  doing  exercises  with  vim.  And 
one  strong  driving,  or  rather  leading,  force  is  en- 
thusiasm. Every  teacher  has  this  gift  if  he  loves 
his  work,  even  if  he  does  not  have  a  dominating 
personality.  He  should  keep  his  enthusiasm  fresh 
and  vital  by  thinking  of  the  ideals  of  dancing  that 
he  wants  his  pupils  to  express,  and  really  wanting 
always  to  have  them  do  better  and  better,  and  to 
feel  his  own  methods  of  teaching  improve  con- 
stantly, so  that  during  each  successive  term  he 
may  have  the  satisfaction  of  knowing  that  his 

70 


NOTES  ON  TEACHING 


class  has  accomplished  more  than  ever  before. 
Studying-  dancing  himself  to  "keep  up  with  the 
times"  is  another  great  aid  to  the  preservation  of 
enthusiasm. 

Summarizing  previous  paragraphs,  the  good 
teacher  must  first  of  all  know  his  subject;  next  he 
must  be  able  to  talk  about  it  directly  and  clearly, 
and  what  is  just  as  important,  to  execute  at  least 
correctly  and  gracefully,  if  not  brilliantly,  what 
he  teaches.  His  own  dancing  must  follow  the 
fundamental  laws  of  good  posture,  harmonious 
lines  and  grace,  for  his  pupils  cannot  help  imi- 
tating what  they  see,  no  matter  what  he  may  say. 
Emerson  said  to  an  impostor:  "What  you  are 
talks  so  loud  I  can't  hear  what  you  say."  Actions 
speak  louder  than  words.  A  certain  teacher  with 
a  temporarily  disabled  knee  found  that  his  pupils 
took  to  limping  from  seeing  him  limp.  Yet  even 
to  tell  and  to  do  is  not  enough;  the  good  teacher 
must  be  able  to  inspire  others  to  do  their  best. 
His  own  inspiration  must  stimulate  their  enthu- 
siasm for  dancing  so  that  their  talent  may  de- 
velop itself  in  an  encouraged  atmosphere. 

Finally  the  teacher  must  be  able  to  observe;  to 
really  see  what  the  class  as  a  whole  does,  taking 
the  average  pupil  as  representing  the  class 
rather  than  the  best  or  the  poorest  dancer  in  it. 
How  can  the  doctor  know  what  medicine  to  give 
before  he  diagnoses  the  case?    And  how  can  the 

71 


THE    CHALIF   TEXT  BOOK   OF  DANCING 

dancing  teacher  know  what  exercise  to  give  or 
to  emphasize  unless  he  sees  what  a  class  does 
wrong,  or  what  principle  of  good  dancing  they 
are  violating?  The  good  teacher  constantly 
studies  his  class,  knowing  that  the  class  itself  can 
teach  him  how  to  teach,  if  he  can  only  observe 
well  enough.  Not  only  should  he  see  their  move- 
ments, but  also  read  the  unconscious  expressions 
of  their  faces,  which  reveal  their  likes  and  dis- 
likes, degree  of  fatigue,  etc.  And  observing  is 
not  done  with  the  eyes  only:  sympathy  and  a 
knowledge  of  human  nature  help  the  teacher  to 
sense  what  the  class  needs. 

The  good  teacher  always  plans  his  lesson  be- 
forehand, but  is  never  a  slave  to  his  plan.  If  on 
studying  the  class  he  sees  where  his  plan  could 
be  better  adapted,  he  does  not  hesitate  to  change 
it.  Or  if  he  have  an  inspiration  to  do  something, 
he  quickly  considers,  and  then  does  it  or  not  as 
seems  best.  But  a  plan  he  always  has  to  fall  back 
on,  and  the  thought  that  he  has  it  gives  him  the 
poise  and  self-assurance  that  are  so  important  for 
governing  as  well  as  teaching  a  class.  The 
teacher  who  does  not  plan,  does  not  progress  in 
excellence  of  teaching;  for  it  is  in  careful  thought 
preceding  teaching  that  he  is  most  apt  to  have 
new  ideas,  when  his  mind  is  not  occupied  with 
discipline,  the  pianist  and  other  matters. 

The  good  teacher  blames  himself,  and  not  the 

72 


NOTES  ON   TEACHING 


class,  or  the  weather,  if  the  class  does  not  learn, 
or  is  not  enthusiastic.  He  proceeds  to  study  his 
own  teaching,  his  attitude  toward  the  class,  and 
his  mental  attitude  in  general.  He  may  find  that 
he  was  not  concentrating  on  his  work,  but  was 
thinking  about  something  else,  perhaps  worrying 
about  it,  or  perhaps  planning,  but  at  any  rate, 
not  thinking  of  the  work  of  the  moment,  so  that 
the  attention  of  the  class  drifted  away  from  his 
absent  leadership.  Or  he  may  find  that  his  own 
enthusiasm  had  waned.  Whatever  the  facts,  the 
good  teacher  studies  his  mistakes  or  failures,  and 
always  learns  something  from  them. 

The  great  teacher  is  he  who  teaches  essentials 
and  broad  principles.  He  does  not  quibble  over 
inconsequential  trifles.  Out  of  his  vast  knowl- 
edge he  chooses  what  is  vital  to  give  out,  and 
knows  what  is  the  important  need  of  each  mo- 
ment. He  talks  little,  but  whatever  he  does  say  is 
to  the  point  and  brings  results,  since  he  tells  his 
class  only  what  they  are  able  to  understand  and 
do.  He  is  like  an  artist  who  paints  with  few  and 
large,  bold  strokes  of  his  brush,  each  stroke  play- 
ing a  vital  part  in  the  picture.  And  as  the  artist 
steps  away  from  his  picture  to  get  the  general 
effect,  so  the  great  teacher  tries  to  see  his  class 
as  from  a  distance  to  get  the  true  idea  of  their 
attainments  and  possibilities  of  attainment.  He 
sizes  up  his  pupils  as  to  their  present  state  of 

73 


THE    CHALIF   TEXT  BOOK   OP  DANCING 

technical  ability  and  mental  grasp  of  dancing, 
decides  what  standard  they  could  come  up  to 
in  their  present  state,  then  compels  them  by  the 
force  of  his  enthusiasm  to  reach  this  height.  He 
never  tries  to  make  them  do  what  is  beyond  them 
and  in  so  doing  fail.  The  great  teacher  is  great 
because  he  brings  out  of  his  pupils  the  best  that 
is  in  them  at  each  stage  of  their  development. 


74 


BAR  PRACTICE 

The  bar  is  a  horizontal  pole  about  33  inches 
above  the  floor  and  usually  running  parallel  to  the 
wall.  (For  smaller  children  build  it  lower,  i.  e., 
24  to  28  inches  above  the  floor.)  The  student 
usually  stands  sidewise  to  the  bar  and  grasps  it 
with  one  hand,  while  the  other  arm  is  held  in 
Second  Position.  The  exercises  are  practiced  by 
the  foot  which  is  farther  from  the  bar,  e.g.,  the 
R  foot  will  work  when  L  hand  holds  the  bar.  But 
some  exercises  require  that  the  bar  be  grasped  by 
both  hands. 

The  Aim.  The  chief  benefits  of  bar  work  are : 
strength,  accuracy,  correction  of  physical  defects, 
the  cultivation  of  a  good  standing  position,  turn- 
ing out  of  the  legs,  extreme  elevation  of  the  arch, 
and  artistic  finish  in  general.  Bar  practice  is  the 
best  way  to  acquire  many  good  habits  of  position 
and  movement. 

A  foot  position  at  the  bar  is  taken  thus :  stand- 
ing sidewise  to  the  bar,  step  forward  on  the  foot 
which  is  to  remain  in  front,  having  this  foot 
turned  out  as  far  as  possible ;  bring  the  other  foot 
up  behind  it  in  Fifth  Position,  striking  against  it 
with  considerable  force,  so  that  the  second  foot 
becomes  turned  out  as  far  as  the  front  one.    We 

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THE  CHALIP   TEXT  BOOK   OF  DANCING 

have  said  Fifth  Position  here  because  that  is  the 
position  from  which  exercises  in  toe  dancing 
usually  start.  After  taking  this  position  with 
force,  precision  and  accuracy,  hold  it  motionless- 
ly,  avoiding  the  tendency  to  make  little  move- 
ments of  adjusting  and  trying  to  turn  the  feet  out 
still  farther. 

To  practice  with  the  other  foot  make  a  half 
turn  inward  toward  the  bar,  thus:  step  R  foot 
(which  has  been  the  working  foot)  across  over 
the  L  foot,  very  close  to  it ;  rise  onto  the  balls  of 
the  feet  (or  onto  the  points  if  the  student  has 
reached  the  stage  where  it  can  be  done  easily), 
make  a  half-turn  toward  the  bar  while  manoeu- 
vering  the  feet  in  such  a  way  as  to  finish  with  L 
foot  either  behind  or  in  front,  according  to  which 
is  desired  as  the  next  starting  position,  and  lower 
the  heels  to  the  floor,  the  feet  being  in  Fifth 
Position. 


76 


THE  CHALIF  ARM  POSITIONS 

A  detailed  description  and  illustration  of  these 
will  be  found  in  Book  I  of  the  Chalif  Text  Book 
of  Dancing.  Below  are  sketched  and  described 
their  main  outline  only. 


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r 


First  Position.  The  arms  make  a  circle  in  front 
of  the  chest  at  the  level  of  the  middle  of  the 
chest. 

Second  Position.  The  arms  are  raised  sideways 
a  little  below  shoulder-level. 

Third  Position.  The  R  arm  makes  a  half-circle 
over  and  in  front  of  the  head,  and  the  L  is  in 
Second  Position.  Reverse  for  Third  Posi- 
tion with  L  arm  up. 

Fourth  Position.  The  R  arm  makes  a  half-circle 
over  and  in  front  of  the  head  and  the  L  is  in 
First  Position. 

77 


THE   CHALIF   TEXT   BOOK    OF   DANCING 

Fifth  Position.     Both  arms  make  a  circle  over 
and  in  front  of  the  head. 

Lateral  Position.    One  arm  is  in  Second  Position 
and  the  other  in  First. 

In  combining  the  arm  and  foot  positions  to 
make  the  five  standard  attitudes  of  the  body  (ist 
ft.  pos.  with  1st  arm  pos.,  etc.)  as  is  fully  de- 
scribed for  the  first  exercise  of  Book  I,  Chalif 
Text  Book  of  Dancing,  the  Law  of  Opposition 
is  followed,  i.e.,  that  arm  is  raised  which  is  oppo- 
site to  the  foot  which  is  in  front. 


The  amplified  positions  are  indicated  above. 
They  are  derived  from  the  corresponding  stand- 
ard positions  by  separating  the  arms  farther,  at 
the  shoulder-joint,  and  partially  straightening 
them.    Their  brief  descriptions  are : 

First.    Both  arms  diagonally  forward,  a  little  be- 
low shoulder-level. 

Second.    Both  arms  back  of  the  shoulder-line  and 
considerably  below  shonlder-level. 

78 


THE   CHALIF  ARM  POSITIONS 


Third.  An  approximately  continuous  slant  with 
the  two  arms. 

Fourth.  The  arm  of  reference  is  diagonally  for- 
ward upward  to  side,  and  the  other  at  chest- 
level  diagonally  forward  to  the  other  side. 

Fifth.  Both  arms  diagonally  upward  in  front  of 
the  shoulder  plane. 


79 


THE  FIVE  STANDARD  POSITIONS 
of  the  feet 

Taking  these  positions  one  after  the  other  is  the 
first  exercise  to  be  given,  following  immediately 
after  teaching  pupils  to  stand  correctly.  The 
positions  will  be  described  here  with  the  toes 
turned  out  to  i8o°,  tho  it  is  impossible  for  the  stu- 
dent to  reach  this  degree  of  turning  out  at  first. 
In  dancing,  these  extreme  positions  would  not  be 
used,  but  in  exercises  they  should  be. 

The  two  open  positions  (Second  and  Fourth) 
are  taught  in  this  exercise  with  one  foot  pointed 
and  the  other  in  sole  position,  instead  of  on  both 
soles,  as  this  form  is  used  much  oftener  in  danc- 
ing, and  is  much  more  beautiful. 

Aim:  To  teach  taking  positions  correctly,  so  that 
exercises  will  be  done  correctly;  to  turn  out 
the  legs. 

Music:  There  may  be  no  music  at  all,  or  slow 
music  with  heavy  chords  may  be  played,  e.g., 
Chopin's  Prelude  in  C  minor. 

THE  EXERCISE 
Preparation :    Hold  the  bar  with  L  hand.  Take 
the  correct  standing  position  with  heels  together 
and  feet  turned  out  only  as  far  as  is  natural,  and 

80 


A  Dancing  Lesson 
Louis  H.  Chalif  and   renia  Watson 


d-*--   <    ■*.;?         \J  1. -_i 


^^^B^^^l^p 


■Ihirif  PosHuni 


.Uilcrim-  J'milh  I'osilii 


I 

V 


Fifth  Pnsili,,,, 


Sccnml  Sole  I'cisilinii  Fpiiiili  Sole  /■,.«//, 

THE  FIVE  STANDARD  POSITIONS 


I'osh-ni.r  I-omth  I'osilii 


THE  FIVB  STANDARD  POSITIONS 

raise  the  R  arm  thru  First  to  Second  Position, 
where  it  will  remain  thruout  the  exercise.  Turn 
the  feet  outward  to  i8o°,  if  possible,  so  that  they 
make  a  continuous  straight  line,  the  heels  being 
together  (First  Position — cts  1,2);  slide  R  foot 
directly  sideward,  in  line  with  the  L  heel,  keeping 
the  toes  on  the  floor  always,  but  lifting  the  heel, 
turning  it  forward,  pushing  the  ankle  outward, 
and  elevating  the  arch  (Second  Position — cts  3, 
4) ;  bring  the  heel  of  R  foot  to  the  center  of  L 
foot,  both  feet  being  now  flat  on  the  floor,  close 
together  and  parallel  (Third  Position — cts  5,  6)  ; 
slide  R  foot  directly  forward,  lifting  and  turning 
forward  the  heel,  pushing  out  the  ankle,  and 
elevating  the  arch,  the  toe  being  in  line  with  L 
heel,  so  that  the  feet  are  really  crossed  and  paral- 
lel, if  possible  (but  it  will  not  be  possible) 
(Fourth  Position — cts  7,  8) ;  bring  R  heel  to  h 
toe,  then  bring  the  R  toe  backward  to  touch  the 
L  heel,  thus  placing  the  feet  close  together  and 
parallel  (Fifth  Position — cts  9,  10).  To  make 
a  half-turn  so  as  to  be  in  position  to  go  thru  the 
positions  with  the  L  foot,  do  thus:  step  R  foot 
across  over  L  foot  and  close  to  it,  rise  onto  the 
balls  of  the  feet  and  turn  halfway  around  to  L, 
and  finish  with  heels  together,  grasping  the  bar 
with  R  hand,  and  bringing  the  L  arm  to  Second 
Position  (cts  11-16). 

While  doing  these  foot  positions  the  R  arm 

81 


THE   CHALIF   TEXT  BOOK    OF  DANCING 

may  go  to  First,  Second,  Fifth,  First  and  Second 
Positions. 

With  the  next  phrase  of  the  music,  repeat  the 
five  positions  with  the  L  foot  (i6  cts).  Repeat 
all  if  desired. 

Go  thru  the  five  positions  with  the  working 
foot  in  the  rear  for  the  Third,  Fourth  and  Fifth 
Positions.     Repeat  with  L  foot. 

RULES  OF  EXECUTION 

Turn  out  the  feet  as  far  as  you  can  without 
bending  the  knees,  or  allowing  the  feet  to  turn 
over  on  the  inside. 

Try  to  stand  on  the  outer  sides  of  the  feet,  in- 
stead of  letting  the  feet  turn  over  onto  their  inner 
sides,  which  is  what  they  tend  to  do  when  turned 
out,  and  which  lowers  and  weakens  the  arches. 
By  forming,  from  the  very  beginning,  this  habit 
of  standing  on  the  outsides  of  the  feet,  which 
brings  the  weight  at  their  centers,  where  it  should 
be,  you  will  make  your  arches  high  and  strong. 

Think  of  turning  out  the  entire  leg  from  the 
hip-joint,  rather  than  turning  out  the  feet.  This 
thought  will  cause  the  knees  to  be  turned  out 
also. 

Try  to  draw  the  hips  backward  and  inward 
to  keep  them  from  bulging  sideward,  but  do  not 
allow  them  to  project  backward  either.  This 
thought  may  sound  strange  and  impossible,  but 

82 


THE  FIVE   STANDARD   POSITIONS 

it  brings  results  in  slenderness  and  compactness 
of  appearance. 

In  Second  and  Fourth  Positions  think  also  of 
pressing  the  heel  forward. 

In  First,  Third  and  Fifth  Positions  see  to  it 
that  the  toes  are  pressed  flat  against  the  floor — 
not  lifted.  In  Russia  they  say  "bite  the  floor" 
with  the  toes. 

Press  the  knees  backward  to  straighten  them. 

Draw  the  body  upward  to  be  tall  and  buoyant 
for  the  same  reason. 

Observe  all  the  rules  of  correct  standing  as 
stated  in  the  introductory  chapters. 


83 


THE  FOUR  ELEVATIONS 

of  the  foot 

This  is  the  first  exercise  to  be  taught  to  begin- 
ners in  toe  dancing,  after  the  five  positions,  for  it 
is  slow  and  gentle,  and  so  provides  an  easy  and 
safe  entrance  into  more  vigorous  work  and 
teaches  the  different  elevations  used  in  dancing. 

'Before  starting  to  practice  the  exercise  the 
teacher  may  have  the  students  place  the  foot  in 
each  elevation  (without  music),  telling  the  tech- 
nical name  of  each. 

Aim:  To  teach  arching  the  instep  and  pushing 
out  the  ankle ;  and  to  lead  by  easy  stages  to 
the  proper  placing  of  the  foot. 

Music:     Slow,  melodious  4/4  time. 

FIRST  EXERCISE 

Stand  in  Second  Position  with  the  soles  of  both 
feet  flat  on  the  floor  {pied  a  terre).  Lift  R  heel 
a  little  above  the  floor  {pied  a  quart;  ct  i ),  lift  R 
heel  a  little  higher  {pied  a  demi;  ct  2),  lift  it  still 
higher  {pied  d  trois  quarts;  ct  3),  lift  the  heel 
still  higher  and  allow  the  knee  to  bend  so  that  the 
very  tip  of  the  toe  may  rest  on  the  floor,  the  foot 
being  perpendicularly  placed  {sur  la  point e,  or 
pied  a  pointe;  ct  4),  lower  the  heel  by  descending 

84 


^ 


first  Elevation 


Second  IMevation 


w^^^^'^^Z'^"^"^ 


Third  Elevation 


FourtJi  Elevation 


THE  FOUR   ELEVATIONS 


slowly  thru  the  4  degrees  of  elevation  (cts  5-8). 
Keep  the  entire  leg  turned  out,  and  try  to  press 
the  heel  forward  when  lifting  it.  The  knee  may 
be  kept  straight  all  the  time  to  make  the  exercise 
more  difficult. 

Repeat  4  or  8  times  in  all  with  R  foot,  then  do 
the  exercise  with  L  foot,  then  repeat  all. 

SECOND  EXERCISE 

This  is  similar  to  Petit  Battement  Releve,  to  be 
described  later. 

Do  the  above  exercise  in  faster  time,  going  im- 
mediately from  the  sole  to  the  pointed  position, 
as  follows: 

Preparation:  Stand  in  Second  Position  with 
the  soles  of  both  feet  flat  on  the  floor.  Keeping 
the  toes  of  R  foot  firmly  on  the  floor,  elevate  the 
heel  until  the  tip  of  the  toes  rests  on  the  floor  (cts 
I,  2),  lower  the  heel  to  the  floor  (cts  3,  4),  re- 
peat 8  or  16  times  in  all,  then  close  the  foot  in 
Fifth  Position  behind  to  finish.  Turn  and  do 
the  exercise  with  L  foot. 

The  knee  of  the  working  foot  may  bend  when 
pointing  the  foot,  but  the  best  stretching  of  the 
arch  and  ankle  will  occur  if  the  student  tries  not 
to  bend  the  knee,  for  then  it  will  bend  less,  and  in- 
stead the  action  of  pointing  the  foot  downward 
will  be  forced  to  take  place  in  the  ankle  and  arch. 

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THE   CHALIF   TEXT   BOOK   OF   DANCING 

Forward  and  Backward.  This  second  exercise 
should  be  practiced  in  all  directions,  tho  not  all  in 
the  same  lesson  necessarily. 


S6 


DEMI-PLIER 

Pron.  d'mee  plee-ay. 

Bending  half-way. 

In  demi-plier  the  entire  soles  of  the  feet  are 

kept  on  the  floor  always,  the  bending-  of  the  knees 

being  only  as  far  as  can  be  done  without  lifting 

the  heels. 

Demi-plier  is  often  used  in  combination  with 
other  exercises. 

The  Aim  and  Music  are  the  same  as  for  Flier. 

EXERCISES 

Stand  in  First  Position  with  the  feet  well 
turned  out.  Slowly  bend  the  knees  as  far  as  pos- 
sible without  lifting  the  heels  (4  cts),  rise, 
straightening  the  knees  (cts  5-8).  Be  sure  not 
to  allow  the  feet  to  turn  over  forward  as  they  will 
be  apt  to  do,  and  do  not  project  the  hips  backward. 
Starting  from  Second  Position  the  free  arm  goes 
to  First  Position  (cts  1-4)  and  returns  to  Second 
Position  (cts  5-8). 

Repeat  4  times  in  this  position,  then  practice 
the  exercise  in  all  four  other  positions. 

Demi-plier  may  be  practiced  in  faster  tempos, 
using  2  cts  to  bend  and  2  cts  to  rise. 

Do  it  still  faster,  using  i  ct  to  bend  and  i  to 
rise. 

87 


PLIER 

Or  plies.    Pron.  plee-ay.    Translation :  To  bend,  or 
bendings. 

Bending  the  knees. 

Plier  is  practiced  with  and  without  the  bar  in  all 
five  positions. 

Plier  (as  well  as  all  other  exercises)  should 
be  practiced  at  first  in  soft  shoes,  since  it  is  pain- 
ful for  beginners  to  do  the  exercise  in  hard  toe 
slippers  unless  standing  on  the  points,  which  is 
impossible  at  first. 

Aim:  To  strengthen  the  thighs  and  knees,  to 
turn  out  the  legs,  stretch  them  and  make 
them  supple. 

Music:  Any  sustaining  melody  in  4/4  or  2/4 
time. 

PLIER  IN  4  COUNTS 
Preparation :  Stand  in  First  Position  with  feet 
turned  out  as  far  as  possible  without  straining  the 
muscles,  and  raise  the  free  arm  thru  First  to 
Second  Position.  Slowly  bend  the  knees,  opening 
them  out  sideward,  keeping  the  whole  soles  of  the 
feet  flat  on  the  floor  as  long  as  possible,  then  lift- 
ing the  heels,  bending  until  finally  almost  sitting 
on  the  heels  (cts  i,  2,  3,  4).    Slowly  rise,  bring- 

88 


"'uiai 


Demi-Plier 


PLIER 

ing  the  heels  down  to  the  floor  when  possible,  fin- 
ishing with  the  knees  straight  (cts  5-8).  During 
cts  1-4  slowly  swing  the  free  arm  inward  to  First 
Position  and  during  cts  5-8  turn  the  palm  of  the 
hand  upward  and  reach  forward,  as  if  to  ex- 
press giving,  then  open  it  to  Second  Position 
again.  Thus  the  student  gets  the  idea  of  using 
the  arms  expressively. 

The  exercise  should  be  repeated  4  times  or 
more  with  the  feet  in  First  Position  and  then 
repeated  in  all  of  the  other  positions,  but  not  all 
in  one  lesson,  for  this  would  tire  the  beginning 
student  too  much. 

FLIER  IN  2  COUNTS 

Repeat  the  above  exercise,  using  2  cts  to  bend 
and  2  cts  to  rise.  Use  all  positions.  The  arm 
movement  is  the  same  for  all  exercises  of  Plier. 

PLIER  IN  SLOW  AND  FAST  TIME 

Bend  slowly  for  6  counts,  then  rise  quickly  on 
ct  7  and  rest  for  ct  8.    Use  all  positions. 

PLIER  COMBINED  WITH  fiLEVER 

Rise  onto  the  balls  of  the  feet,  then  bend  the 
knees  (cts  1-4),  rise  until  standing  on  the  balls  of 
the  feet  with  knees  straight,  then  lower  the  heels 
(cts  5-8).     Practice  in  all  5  positions. 

89 


THE    CHALIP   TEXT   BOOK   OF   DANCING 

PLIER  ALTERNATING  WITH  fiLEVER 

Do  plier  as  described  in  the  first  exercise  (8 
cts),  rise  onto  the  balls  of  the  feet  (cts  9-12), 
and  lower  the  heels  (cts  13-16).  Practice  in  all 
positions. 

Follow  the  plan  of  the  second  exercise. 

PLIER  IN  TOE  SLIPPERS 

Rise  quickly  onto  the  points,  then  slowly  bend 
the  knees  until  almost  sitting  on  the  heels,  while 
remaining  on  the  points  (8  cts)  slowly  rise  until 
the  knees  are  straight,  then  lower  the  heels  (cts 
9-16).     Practice  in  all  five  positions. 

This  exercise  may  be  practiced  twice  as  fast, 
or  bending  slowly  and  rising  quickly,  as  described 
in  the  second  and  third  exercises. 

PLIER  AT  THE  CENTER 

All  of  the  above  exercises  may  be  practiced  at 
the  center,  in  which  case  both  arms  should  be 
moved  to  First  Position  and  back  again  to  Second 
Position. 

RULES  OF  EXECUTION 

Keep  the  weight  on  the  center  of  the  feet,  i.e.,  do 
not  let  them  turn  over  on  either  side  nor 
wabble. 

Turn  the  knees  and  feet  out  as  far  as  possible 
when  bending. 

90 


PLIER 

Keep  the  back  straight  and  perpendicular,  over- 
coming the  tendency  to  lean  forward. 

Hold  the  head  up. 

Move  slowly,  with  complete  control. 

Finish  with  the  knees  absolutely  straight. 

Use  the  arms  expressively,  with  a  free  movement 
from  the  shoulder. 


91 


PETITS  BATTEMENTS 

Pron.  p'tee  batmahN.       Trans,     small  beatings. 
Technical  analysis :  glisse,  assemble. 

Slide  the  foot  out  and  bring  it  hack. 

The  complete  name  of  this  exercise  is  Petits 
Battements  Tendus  a  Terre,  meaning  small 
stretched  beatings  on  the  ground;  but  the  name 
is  usually  shortened  to  Petits  Battements,  as  here. 
And  this  shortening  is  justifiable,  for  ''tendu"  is 
superfluous,  since  the  foot  should  be  stretched  in 
beatings  of  all  kinds;  and  "a  terre"  is  replaced  by 
''petit,"  which  has  come  to  mean  that  the  toes  are 
kept  on  the  floor,  in  contrast  to  "grand,"  in  which 
they  are  lifted  from  the  floor.  Still  another  name 
is  Petits  Battements  Glisses,  meaning  that  the 
foot  slides  on  the  floor  when  beating. 

Petits  Battements  is  the  exercise  that  makes  a 
toe  dancer,  more  than  any  other  one  study. 

It  is  practiced  in  all  5  positions,  and  in  3  direc- 
tions. Beginners  would  better  use  First  or  Third 
Position. 

It  is  practiced  with  and  without  the  bar,  but 
preferably  with  it  at  first. 

Petits  Battements  executed  sideward  are  called 
simples  if  the  foot  is  returned  to  the  position 
from  which  it  started,  and  changes  if  it  starts 

92 


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CO 


CQ 


CXm 


■n 


PETIT S  BATTBMENTS 


from  the  rear  and  is  returned  to  the  front,  and 
vice  versa. 

The  exercise  should  be  practiced  very  slowly  at 
first,  to  insure  accuracy. 

Aim:  To  strengthen  the  toes,  arches  and  ankles; 
to  raise  the  arch  and  instep;  to  prepare  for 
a  good  elevation  on  the  points;  to  turn  out 
the  legs;  to  straighten  the  knees;  to  bring 
quickness  of  movement  of  the  legs ;  to  stretch 
them ;  to  establish  the  habit  of  moving  them 
from  the  hip-joint;  to  teach  control  thru 
keeping  all  but  one  part  of  the  body  motion- 
less. 

Music:  2/4  or  4/4  time  which  is  quick  and 
sharply  accented. 

GENERAL  RULES 
for  Petits  Battements  in  all  Directions 

Keep  the  knee  of  the  working  leg  straight. 

Keep  the  supporting  knee  straight. 

Make    the    movement    short    enough  to    permit 

elevating  the  arch,  but  not  so  short  as  to 

necessitate  raising  the  hip. 

Keep  the  toe  on  the  floor  all  the  time. 

Press  it  heavily  against  the  floor,  as  if  pushing 
something  heavy  away  from  you. 

Push  the  ankle  outward  to  help  make  the  toes 

93 


THE   CHALIP   TEXT  BOOK   OF  DANCING 

perpendicular  and  to  leave  a  large  open  space 
under  the  foot. 

Elevate  the  arch  for  the  same  reasons. 

Keep  the  toes  straight — never  bend  them  under 
by  catching  them  against  the  floor  and  push- 
ing the  arch  outward  too  far. 

Press  the  heel  forward  and  the  front  part  of 
the  foot  backward  for  all  directions. 

See  that  on  the  inside  of  the  foot  you  have  an 
outward  cure  which  is  caused  by  following 
the  preceding  admonitions. 

Have  the  entire  leg  turned  outward  at  the  hip, 
thinking  always  that  the  turning  out  of  the 
foot  begins  here. 

Think  of  sending  a  stream  of  strength  to  the  tip 
of  the  toe — all  the  strength  of  the  body  being 
sent  there  by  the  shortest  route. 

Bunch  the  toes  all  together  to  prepare  for  stand- 
ing on  them. 

Make  both  the  inward  and  outward  movements 
quick,  decisive  and  clear  cut. 

Pause  for  an  instant  after  each  inward  and  out- 
ward stroke. 

To  avoid  bending  the  supporting  knee  when  re- 
turning the  foot  to  a  closed  position,  elevate 
the  entire  body  to  an  erect,  buoyant  carriage. 

Keep  the  whole  body  motionless  except  the  work- 
ing leg. 

94 


PET  ITS  BATTEMENTS 


PETITS  BATTEMENTS  EXERCISES  AT  THE 
BAR  IN  EACH  DIRECTION  SEPARATELY 

Starting  from  Fifth  Position  in  front,  slide  R 
foot  to  Second  Position  (cts  1,2),  return  R  foot 
to  Fifth  Position  in  front,  completing  one  petit 
battement  (cts  3,  4),  slide  R  foot  to  Second  Po- 
sition (cts  5,  6),  and  bring  it  to  Fifth  Position  be- 
hind, completing  a  petit  battement  change  (cts 
7,  8).  Continue  doing  petits  battements  changes 
for  8,  16  or  more  times  in  all. 

Turn  to  face  in  the  opposite  direction,  and  re- 
peat the  same  number  of  times  with  L  foot. 

Turn  again  and  do  petits  battements  forward 
to  Fourth  Position  with  R  foot,  starting  from 
Fifth  Position  in  front,  and  returning  each  time 
to  this  same  position. 

Turn  again  and  repeat  with  L  foot. 

Turn  and  do  the  exercise  backward  to  Fourth 
Position  with  R  foot,  starting  from  Fifth  Posi- 
tion behind,  and  returning  each  time  to  this  same 
position. 

Turn  and  do  the  same  with  L  foot. 

After  accuracy  has  been  acquired  these  exer- 
cises may  be  done  twice  as  fast,  using  i  ct  to  slide 
outward  and  i  ct  to  close. 

PETITS  BATTEMENTS  IN  TWO  DIRECTIONS 

Starting  with  R  foot  in  Fifth  Position  in  front, 
slide  R  foot  forward  and  return  it  to  the  same 

95 


THE   CHALIP  TEXT  BOOK   OP  DANCING 

position  (ct  i,  2),  slide  R  foot  to  side  and  return 
it  to  Fifth  Position  behind  (ct  3,  4).  Repeat 
all  as  long  as  desired,  then  turn  and  repeat  with 
Lfoot. 

Starting  with  R  foot  in  Fifth  Position  behind, 
slide  R  foot  to  side  and  return  it  to  the  same  posi- 
tion (cts  1,2),  slide  R  foot  back  and  return  it  to 
Fifth  Position  behind  again  (cts  3,  4).  Repeat 
all  as  long  as  desired,  then  turn  and  do  the  exer- 
cise with  L  foot. 

PETITS  BATTEMENTS  IN  THREE  DIRECTIONS 

Starting  with  R  foot  in  Fifth  Position  in  front, 
slide  R  foot  forward  and  return  it  to  the  same 
position  (cts  1,2),  slide  it  to  side,  returning  it  to 
Fifth  Position  behind  (cts  3,  4),  slide  it  back- 
ward, returning  it  to  Fifth  Position  behind  (cts 
5,  6),  slide  it  to  side,  returning  it  to  Fifth  Position 
in  front  (cts  7,  8). 

Repeat  all  as  many  times  as  desired,  then  turn 
and  repeat  with  L  foot. 

PETITS  BATTEMENTS  AT  THE  CENTER 

All  of  the  above  exercises  may  be  practiced  at 
the  center,  but  for  the  sake  of  variety  it  is  well  to 
do  them: 

ALTERNATING 

Moinng  Porivard.  Starting  with  R  foot  in 
Fifth  Position  behind,  slide  R  foot  to  side  and  re- 

96 


PBTITS  BATTEMENTS 


turn  it  to  Fifth  Position  in  front  (ct  i,  2),  repeat 
with  L  foot  (ct.  3,  4),  and  continue  alternating 
as  long  as  desired,  moving  forward  little  by  little. 
Moving  Backward.  Starting  with  L  foot  in 
Fifth  Position  in  front  (as  it  was  at  the  end  of 
the  forward  progression),  slide  L  foot  to  side 
and  return  it  to  Fifth  Position  behind  (cts  i,  2), 
repeat  with  R  foot,  and  continue  alternating, 
moving  backwards  little  by  little. 

ALTERNATING  IN  TWO  DIRECTIONS 

Starting  with  R  foot  behind,  slide  it  to  side,  re- 
turning in  front  (ct  i,  2),  slide  R  foot  forward, 
returning  it  in  front  (ct  3,  4),  and  repeat  all  with 
L  foot  (cts  5-8).  Repeat  all  as  long  as  desired, 
moving  forward  little  by  little. 

Do  the  same  exercise  moving  backward  little 
by  little,  starting  with  L  foot,  which  is  in  front  at 
the  end  of  the  forward  progression. 

PETITS  BATTEMENTS  IN  A  CROSS 
FORMATION 

Starting  with  R  foot  in  Fifth  Position  behind, 
slide  R  foot  to  side,  returning  it  to  Fifth  Position 
in  front  (ct  i,  2),  repeat  the  same  with  L  foot  (ct 
3,  4),  slide  R  foot  backward,  returning  it  to  Fifth 
Position  behind  (ct  5,  6),  slide  L  foot  forward, 
returning  it  to  Fifth  Position  in  front  (ct  7,  8). 

97 


THE   CHALIF   TEXT  BOOK   OF  DANCING 

Repeat  as  long  as  desired,  starting  with  R  foot 
always,  while  moving  forward  gradually. 

Do  the  exercise  moving  backward  gradually, 
starting  with  L  foot. 


98 


PETITS  BATTEMENTS  RELEVES 

Pron.  p'tee  batmahN  re-le-vay. 
Translation :  Small  beatings  with  raisings. 

Sliding  the  foot  out  and  in,  with  a  lowering  and 
raising  of  the  heel  added. 

It  is  well  to  give  this  exercise  before  the  stand- 
ard petits  battements,  since  it  leads  up  to  a  good 
execution  of  the  latter. 

Aim:  To  force  the  arching  of  the  instep;  and 
to  give  the  idea  of  doing  this  thoroly ;  to  make 
the  instep  supple  and  strong. 

Music:    2/4,  4/4  or  6/8  time. 

THE  EXERCISE 

Starting  with  R  foot  in  Fifth  Position  in  front, 
slide  R  foot  to  side  (ct  i,  2),  lower  the  R  heel  to 
the  floor  (cts  3,  4),  raise  the  R  heel  as  high  as  pos- 
sible (cts  5,  6),  bring  the  R  foot  to  Fifth  Position 
behind  (cts  7, 8),  and  repeat  all,  closing  the  foot  to 
Fifth  Position  in  front  (cts  9-16). 

Repeat  16  or  32  times  with  R  foot,  then  do  the 
exercise  with  L  foot. 

Forward  and  Backward.  This  exercise  is  prac- 
ticed in  all  3  directions. 

99 


THB  CHALIF   TEXT  BOOK   OF  DANCING 

Variation.  Slide  R  foot  to  side  (cts  i,  2),  lower 
the  R  heel  (cts  3,  4),  raise  the  R  heel  (cts  5,  6), 
lower  and  raise  the  R  heel  twice  more  (cts  7-14), 
and  close  R  foot  behind  (cts  15,  16). 

Center  Practice.  The  exercise  may  be  prac- 
ticed at  the  center  as  described,  or  alternating  the 
feet,  moving  forward,  then  backward,  little  by 
little. 


100 


PLlfiS   BATTEMENTS 

Pron.  plee-ay  batmahN.    Translation:  Beatings  with 
bending. 

Bend  one  knee  and  slide  the  other  foot  out. 

The  toes  are  kept  on  the  floor  always  in  this 
exercise,  and  the  knee  is  bent  as  much  as  is  possi- 
ble without  lifting  the  heel  of  the  supporting  foot 
from  the  floor.  The  prolonged  positions  are  used. 
The  exercise  is  illustrated  opposite  page  112. 

The  exercise  is  done  in  all  3  directions,  and  may 
be  practiced  starting  from  First,  Third  or  Fifth 
Positions. 
Aim:   This  exercise  combines  the  benefits  of  plier 

and  petits  battements. 
Music:    2/4,  4/4  or  6/8  time. 

RULES  OF  EXECUTION 

Adhere  closely  to  the  three  standard  directions. 
Do  not  allow  the  supporting  foot  to  turn  over 

onto  the  inner  side. 
Be  sure  that  the  supporting  knee  turns  out  to  the 

side  instead  of  forward. 
Straighten  the  supporting  knee  fully  at  the  end 

of  each  execution. 
Hold  the  trunk  perpendicular,  not  allowing  it  to 

lean  forward. 

101 


THE   CHALIF   TEXT   BOOK   OF  DANCING 

Be  just  as  careful  about  the  correctly  turned  out, 
straight  kneed  position  of  the  working  foot 
as  you  are  in  doing  the  standard  petits  batte- 
ments. 

EXERCISES 

These  may  follow  the  plan  of  exercises  for 
petits  battements,  i.e.,  all  of  those  exercises  may 
be  done  with  the  bending  of  one  knee. 


1U2 


PETITS  BATTEMENTS  DEGAGES 

Pron.  p'tee  batmaliN  day-ga-zhay. 
Translation :  Small  beatings  with  a  transfer  of  the  weight. 

Lifting  the  foot  from  the  floor  while  straighten- 
ing both  knees.  effeW^  '*■' 

This  exercise  seems  to  be  illogically  named. 
The  word  degager  (meaning  to  t4-ansfer)  may  be 
brought  into  this  name  because  the  weight  is 
transferred  from  both  feet  to  one  foot.  The  real 
analysis  of  the  exercise  is  a  preliminary  plie,  then 
a  grand  battement. 

Aim:  To  strengthen,  quicken  and  make  supple 
the  knees  and  instep,  and  to  teach  making 
well  accented  movements. 

Music:  6/8,  2/4,  or  4/4  time  that  is  staccato  and 
has  a  marked  accent. 

FIRST  EXERCISE 

Preparation:  Stand  in  Fifth  Position  with  R 
foot  in  front.  Just  before  the  music  begins  bend 
both  knees  very  slightly  (ct  and),  forcefully  ex- 
tend R  foot  to  side  to  the  position  of  petit  battle- 
ment, then  lift  it  a  few  inches  from  the  floor, 
simultaneously  straightening  both  knees  (ct  i), 

103 


THE   CHALIF   TEXT  BOOK   OF  DANCING 

return  R  foot  to  Fifth  Position  in  front  with 
foot  flat  on  the  floor  and  bend  both  knees  slight- 
ly (ct  2). 

Repeat  8  or  16  times  with  R  foot,  then  an  equal 
number  of  times  with  L  foot. 

This  exercise  may  be  practiced  closing  the  foot 
behind  always  or  behind  and  in  front  alternately. 

The  exercise  may  also  be  practiced  forward 
and  backward,  but  the  sideward  direction  is  the 
most  beneficial. 

SECOND  EXERCISE 

Practice  the  above  exercise,  rising  onto  the  ball 
of  the  supporting  foot  whenever  extending  the 
foot;  and  lower  the  heel,  bending  the  knees  as 
before,  whenever  closing  the  feet. 

THIRD  EXERCISE 

Do  the  same  exercise  rising  onto  the  point.  In 
this  case  be  sure  not  to  raise  the  foot  so  high 
that  the  forceful  stretching  of  it  is  lost. 

AT  THE  CENTER 

All  forms  of  this  exercise  may  be  practiced 
starting  R  and  L  feet  alternately,  moving  for- 
ward, then  backward,  little  by  little.  The  arms 
remain  held  in  Second  Position. 

104 


PBTITS   BATTEMENTS   D&GAG&S 


DETAILS 

Be  sure  to  turn  the  knees  out  and  to  keep  the 
feet  flat  on  the  floor  each  time  before  doing  the 
extensions.  Altho  the  exercise  is  "bend  and  ex- 
tend" the  "extend"  is  the  principal  part,  and  the 
bend  only  a  preparation.  Great  force  should  be 
put  into  "extend,"  the  toes  being  stretched  down 
and  knees  straightened  out.  The  accent  of  the 
music  being  on  this  movement  helps  to  make  it 
forceful.  The  foot  should  at  first  slide  out- 
ward along  the  floor,  as  in  petits  battements,  and 
then  be  lifted  a  few  inches  only  from  the  floor, 
since  lifting  it  higher  detracts  from  the  force  of 
the  downward  stretching. 


105 


PETITS  BATTEMENTS  IN  QUICK  TEMPO 

imth  the  accent  on  the  inward  stroke 

This  is  an  exercise  for  an  advanced  class. 

Aim:  To  bring  great  dexterity,  and  quick  move- 
ment at  the  hip- joint;  to  teach  making  small, 
fine  movements  of  the  feet;  to  make  the  in- 
step supple;  and  to  develop  will-power. 

Music:  Quick  2/4  time  that  is  strongly  accented. 

FIRST  EXERCISE 

Preparation :  Standing  in  Fifth  Position  with 
R  foot  in  front  make  a  demi-pile,  then  straighten 
the  knees  while  pointing  R  foot  to  side.  Bring  R 
foot  inward  to  Fifth  Position  behind  (ct  i),  slide 
it  outward  as  if  making  a  preparatory  movement, 
then  bring  it  inw^ard  to  Fifth  Position  in  front 
(ct  2)  and  continue  placing  it  behind  and  in  front 
alternately  for  32  cts  in  all. 

Do  the  exercise  with  L  foot. 

Practice  the  exercise  forward,  closing  in  Fifth 
Position  in  front,  and  backward,  closing  in  Fifth 
Position  behind. 

DETAILS 

The  sideward  practicing  of  this  exercise  is  the 
most  beneficial,  and  hence  should  be  practiced  the 
oftenest. 

106 


PET  ITS   BATTEMENTS   IN   QUICK    TEMPO 

It  is  important  not  to  cheat  oneself  in  doing 
this  exercise.  There  are  three  ways  of  cheating : 
the  first  is  to  return  the  foot  to  Third  instead  of 
Fifth  Position ;  the  second  is  f aihng  to  lower  the 
heel  to  the  floor ;  and  the  third  is  failing  to  extend 
the  foot  far  enough  sideward  in  between  the  beats 
against  the  other  foot.  Be  sure  to  keep  the  toes 
on  the  floor  all  the  time,  since  this  brings  more 
action  in  the  arch  and  ankle,  which  is  so  valuable 
for  gaining  strength.  The  knees  must  not  bend 
at  all. 

If  a  feeling  comes  that  you  cannot  keep  the 
exercise  up  any  longer,  say  "I  can,"  and  you  will 
continue,  for  this  valuable  little  exercise  has  the 
power  to  bring  out  reserve  strength  and  dexterity, 
yet  is  so  mild  in  itself  that  it  cannot  be  injurious. 
Relaxation  is  a  help  toward  quickness  that  Nature 
will  be  apt  to  bring  when  necessity  calls  for  it. 

SECOND  EXERCISE 
Two  quick  pctits  battemcnts  and  point 

This  exercise  is  most  valuable  for  preparing  to 
do  brises,  cabrioles,  etc.  The  preparation  for 
each  includes  a  demi-plie,  as  described  for  the 
first  exercise. 

Sideward:  Point  R  foot  to  side  (prep,  m'v't), 
do  2  quick  petits  battements  with  the  accent  on 
the  inward  stroke,  which  is  in  this  case  to  Third 
Position  in  the  rear  both  times  (ct  i,  2),  point  R 

107 


THE   CHALIF   TEXT   BOOK   OF  DANCING 

foot  to  side  (ct  3)  and  hold,  with  foot  well  arched 
(ct  4).  Repeat  16  times  or  more  with  R  foot, 
then  repeat  with  L  foot. 

Forward:  Point  R  foot  forward  to  start  with, 
then  do  the  exercise  closing  R  foot  to  Fifth  Posi- 
tion in  front,  then  pointing  it  forward.  Repeat 
with  L  foot. 

Backward:  Point  R  foot  backward  to  start 
with,  then  do  the  exercise  closing  the  foot  to  Fifth 
Position  in  the  rear.    Repeat  with  L  foot. 


108 


PETITS  RONDS  DE  JAMBE 

Pron.  p'tee  rawhN  d'  zhahNb. 
Translation :  Little  circles  with  the  leg. 

Circling  with  the  foot,  keeping  the  toes  on 
the  floor. 

This  exercise  is  sometimes  called  Ronds  de 
Jambe  a  Terre,  since  the  toes  are  kept  on  the  floor 
always. 

Aim:  To  acquire  freedom  at  the  hip-joint;  to 
learn  to  move  the  leg  in  a  circular  path, 
smoothly ;  to  gain  strength  and  flexibility  for 
the  toes,  arches  and  ankles;  to  elevate  the 
arches  and  straighten  the  knees. 

Music:  Melodious  2/4  or  4/4  time  with  a  sus- 
taining accompaniment. 

Since  simple  forms  of  this  exercise  have  been 
minutely  described  in  Books  I  and  II,  only  a  brief 
summary  of  them  will  be  given  here ;  then  a  few 
more  difficult  versions  will  be  described.  The  sim- 
plest forms  must  be  taught  first  if  the  class  con- 
sist entirely  of  beginners  in  toe  dancing,  or  of 
very  young  children.  These  simple  exercises  are 
in  brief : 

109 


THE   CHALIF   TEXT  BOOK   OF  DANCING 

Petits  Ronds  de  Jambe  practiced  in  First  Position, 
circling  forward,  then  backward. 

Petits  Ronds  de  Jambe  practiced  in  Third  and  in 
Fifth  Positions. 

Petits  Ronds  de  Jambe  thru  First  Position  de- 
scribing a  figure  8  by  circling  forward,  then 
backward. 

Petits  Ronds  de  Jambe  circling  from  Fifth  Posi- 
tion behind  to  Fifth  in  front,  then  from  Fifth 
in  front  to  Fifth  behind  again. 

The  same  alternating  the  feet,  so  as  to  move  for- 
ward little  by  little,  or  backward. 

THRU  FIFTH  POSITION 

With  an  extra  preparatory  movement. 

Preparation:  Before  the  music  begins  start 
from  Fifth  Position  with  R  foot  in  front,  bend 
both  knees  a  little,  then  straighten  them  out,  while 
sliding  R  foot  out  to  Second  Position  (pointe 
tendu) — the  first  half  of  a  petit  battement — ct 
and) ;  describe  a  foward  circle  with  R  foot,  pass- 
ing it  thru  First  and  Fifth  Positions  and  finishing 
in  Fifth  Position  in  front  (ct  i,  2).  Repeat  this 
circling  as  long  as  desired,  starting  each  time  with 
the  preparatory  sideward  sliding,  but  omitting 
the  preparatory  bending.  The  exercise  should 
be  practiced  backward  also,  the  preparatory  slide 
being  to  the  side  as  before. 

110 


PBTITS  RONDS  DE  JAMBE 


The  extra  preparatory  movement 

is  often  used  in  practicing  Ronds  de  Jambe, 
whether  petits  or  grands.  Its  benefits  are  many : 
it  makes  it  more  natural  and  easy  for  the  heel  to 
lead  in  the  circling,  which  rule  of  heel  leading  was 
formulated  for  the  purpose  of  keeping  the  toe 
from  turning  in  at  the  start.  The  preparatory 
movement  also  makes  for  more  dexterity  by 
bringing  in  more  movements  in  a  given  length  of 
time.  It  also  gives  a  chance  to  start  the  circling 
with  a  greater  impetus  and  so  to  do  the  exercise 
with  more  energy. 

RULES  OF  EXECUTION 

These  are  the  same  as  for  petits  battements 
tendus,  as  regards  keeping  both  knees 
straight,  pressing  the  ankle  and  arch  out- 
ward, keeping  the  toes  on  the  floor  always, 
turning  the  legs  out,  and  in  addition : 

Think  of  leading  with  the  heel,  so  that  the  toe 
will  surely  be  turned  out. 

Make  the  circling  smooth,  then  stop  with  pre- 
cision. 

Make  the  circle  as  large  as  is  possible  without 
bending  the  supporting  knee. 

Finish  each  circle  with  the  foot  flat  on  the  floor 
and  well  turned  out. 

Ill 


PLIES  RONDS  DE  JAMBE 

Pron.  p'tee  rawN  d'  zhahNb  plee-ay. 
Small  foot  circles  zvith  h endings  of  the 
supporting  knee. 
This  exercise  is  sometimes  called  Ronds  de 
Jambe  Plies  a  Terre,  meaning  that  the  toes  are 
kept  on  the  floor  while  circling. 
The  prolonged  positions  are  used. 
The  toes  are  kept  on  the  floor  always,  and  the 
supporting  knee  is  bent  only  as  far  as  one  can, 
and  still  keep  the  whole  sole  of  the  foot  on  the 
floor. 

The  circling  may  be  forward  or  backward,  and 
may    be    practiced    in    First,    Third    or    Fifth 
Position. 
Aim:    See  aims  of  Plier  and  Petits  Ronds  de 

Jambe. 
Music:    The  same  as  for  Petits  Ronds  de  Jambe, 
but  played  more  slowly. 

GENERAL  RULES 
See  General  Rules  for  Plies  Battements  and 
Petits  Ronds  de  Jambe. 

EXERCISES 
The  preparation  the  same  as  for  Petits  Ronds 
de  Jambe.    Seepage  no. 

112 


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'.ml,    I  tit  .Inferior  and  -Ith  I'oslcrior. 


Grand  Roiid  dc  Jambe  Plie 


PLI&S  RONDS  DE  JAM  BE 


Any  or  all  of  the  exercises  in  Petits  Ronds  de 
Jambe  may  be  done  bending  the  supporting  knee. 

One  of  the  most  valuable  forms  of  the  exercise 
is  circling  from  Fifth  in  front  to  Fifth  behind, 
then  circling  from  Fifth  behind  to  Fifth  in  front 
again. 

Another  valuable  exercise  is  circling  from 
Fifth  in  front,  returning  to  Fifth  in  front,  or 
from  Fifth  behind,  returning  to  Fifth  behind. 

The  exercise  may  be  practiced  very  slowly, 
starting  forward  and  circling  backward  for  6  cts, 
closing  behind  on  ct  7,  resting  on  ct  8;  then  re- 
peat all,  starting  backward,  circling  forward  and 
closing  in  front  (cts  9-16). 


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PETITS  RONDS  DE  JAMBE  RELEVES 

Aim:  To  acquire  strength  and  springiness  for 
one  foot  while  acquiring  dexterity  in  circHng  with 
the  other.  Also  to  learn  a  graceful  and  attractive 
way  of  moving  the  feet. 

Strictly  speaking,  this  exercise  should  not  be 
called  petits,  since  the  toes  are  lifted  from  the 
floor  a  little. 

Starting  with  R  foot  in  Fifth  Position  in  front 
slide  it  out  to  side  (preparatory  movement),  make 
a  little  circle  forward  with  the  foot,  at  first  keep- 
ing the  toes  on  the  floor,  then  lifting  them  a  few 
inches  only,  allowing  the  working  knee  to  bend 
slightly,  and  simultaneously  with  starting  to  cir- 
cle, rising  onto  the  ball  of  the  supporting  foot 
(ct  i),  close  the  R  foot  to  Fifth  Position  in  front 
or  to  First  Position,  and  at  the  same  time  lower 
L  heel  to  the  floor  (ct  2). 

Continue  as  long  as  desired  with  R  foot,  then 
do  the  exercise  with  L  foot,  then  backward  with 
each  foot.  Note  that  the  knee  of  the  circling 
foot  may  be  slightly  bent. 


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PETITS   RONDS   DE  JAMBE  IN   QUICK 
TEMPO 

An  exercise  for  an  advanced  class. 

The  movements  are  much  the  same  as  those  for 
fast  petits  battements. 

The  exercise  may  be  practiced  in  First  and 
Fifth  Position,  both  being  about  equally  bene- 
ficial.    The  description  will  be  for  First. 

FIRST  EXERCISE 

Slide  R  foot  to  side  (preparatory  movement), 
describe  a  circle  forward,  passing  thru  First  Po- 
sition with  the  entire  foot  flat  on  the  floor  at  that 
point,  and  afterwards  the  heel  being  well  lifted 
while  the  toe  is  at  pointe  tendu  (ct  i),  describe 
another  similar  circle  (ct  2),  and  continue  for  16 
or  32  cts  in  all. 

Repeat  with  the  L  foot,  then  do  the  exercise 
backward  with  each  foot. 

DETAILS 
It  is  most  important  that  the  heel  brush  the 
floor  between  each  circle,  for  this  means  much 
action  in  the  ankle  and  arch,  developing  strength. 
The  knee  should  be  kept  perfectly  straight  so  that 
the  action  will  come  entirely  from  the  hip-joint. 

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THE   CHAUP   TEXT  BOOK   OF  DANCING 

The  tendency  is  to  bend  the  knee  and  make  circles 
on  the  floor  with  the  toes,  without  ever  touching 
the  heel  to  the  floor.  This  is  the  lazy  man's  way 
and  brings  no  reward  in  strength.  To  do  the 
exercise  correctly  and  energetically,  and  to  keep  it 
up  after  getting  tired,  imagine  that  you  are  stir- 
ring something — a  delicious  plum  pudding  per- 
haps. 

SECOND  EXERCISE 
2  Petit  Ronds  de  Jambe  and  Point 

This  exercise  is  particularly  valuable  on  ac- 
count of  the  strong  pointing. 

Preparation  (see  page  i  lo)  :  Describe  2  petits 
ronds  de  jambe  forward  with  R  foot  (ct  i,  2), 
point  R  foot  to  side,  stretching  the  foot  strongly 
downward  (ct  3)  and  hold  (ct  4). 

Repeat  8  or  16  times  with  R  foot,  then  repeat 
with  L  foot. 

Do  the  exercise  circling  backward,  with  the 
foot  pointed  sideward  as  above. 

The  exercise  may  be  practiced  making  forward 
and  backward  circles  alternately. 

The  pointing  is  the  climax  of  the  exercise,  and 
its  most  beneficial  part  for  strengthening  the  toes. 
The  circling  should  seem  merely  to  lead  up  to  the 
pointing. 

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PBTITS  RONDS  DE  J  AM  BE  IN  QUICK  TEMPO 

THIRD  EXERCISE 
Point  and  3  Petits  Ronds  de  Jambe. 

Starting  with  R  foot  in  Fifth  Position  in  front, 
slide  R  foot  to  side  (ct  i),  hold  (ct  2, 
3,  4),  describe  3  petits  ronds  de  jambe  forward, 
finishing  in  front  (cts  5,  6,  7),  rest  (ct  8).  Re- 
peat all,  doing  the  circling  backward,  finishing 
in  Fifth  Position  behind  (8  cts).  Continue  doing 
the  exercise  forward  and  backward  alternately  as 
long  as  desired,  then  do  the  exercise  with  L  foot. 

The  exercise  may  be  practiced  forward  and 
backward  alternately. 

FOURTH  EXERCISE 
3  Petits  Ronds  de  Jambe  and  Rest. 

Preparation  (see  page  no)  :  Describe  a  for- 
ward circle,  keeping  the  toes  on  the  floor  and 
passing  thru  Fifth  Position  in  front  (ct  i,  2), 
start  to  describe  a  third  circle  but  finish  in  Fifth 
Position  in  front  on  ct  3;  rest  (ct  4). 

Repeat  this  forward  circling  8  or  16  times  in 
all  with  R  foot,  then  an  equal  number  of  times 
with  L  foot. 

Do  the  exercise  circling  backward. 

It  may  be  done  circling  forward  and  backward 
alternately. 

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THE   CHALIF   TEXT   BOOK   OF  DANCING 

FIFTH  EXERCISE 
6  Fast  Pctits  Ronds  de  Jambe  and  Point. 

Preparation  (see  page  no)  :  Do  6  fast  petits 
ronds  de  jambe  forward  with  R  foot  (6  cts),  point 
R  foot  to  side  (point  tendu)  (ct  7),  and  hold  (ct 
8).  Describe  6  fast  petits  ronds  de  jambe  back- 
ward with  R  foot  (6  cts),  point  R  foot  to  side 
(point  tendu)  (ct  7) ,  and  hold  (ct  8) .  Repeat  all 
as  long  as  desired,  then  do  the  exercise  with  L 
foot. 

Variation:  Describe  6  fast  forward  circles 
and  point  tendu  forward  (8  cts) ;  repeat  all  and 
finish  pointing  sideward  (8  cts),  describe  6  back- 
ward circles  and  point  backward  (8  cts),  describe 
6  backward  circles  and  point  to  side  (8  cts). 


118 


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CI. 


u. 


u 


K 


F'rcparatiun  fur  Fctits  Buttciiiciit  siir  Ic  con  dc  pied. 


PETITS  BATTEMENTS  SUR  LE  COU  DE 

PIED 

Pron.  p'tee  bat-maliN  siir  \c  cou  de  pyay. 
Small  beatings  on  the  ankle. 

Some  teachers  call  this  exercise  Petits  Batte- 
ments  because  the  movement  of  beating  is  from 
the  knee  down  and  therefore  small. 

Battus,  little  hammerings  of  the  heel  against 
the  ankle,  are  included  in  this  exercise. 

Altho  this  exercise  has  been  already  described 
in  detail  in  Books  II  and  IV,  it  is  so  important  for 
toe  dancing  that  it  must  be  included  in  a  text  book 
of  that  subject,  if  only  in  the  form  of  a  shortened 
description. 

Since  this  exercise  is  done  standing  on  one  foot 
it  should  certainly  be  practiced  at  the  bar  first 
and  usually,  to  insure  a  correct  position  and 
execution. 

In  all  of  the  ii  exercises  here  described  the 
supporting  foot  may  rest  on  the  whole  sole,  ball, 
or  point,  according  to  which  degree  of  difficulty  is 
desired.  Beginners  should  use  the  sole  position; 
those  further  advanced  will  gain  added  strength 
from  the  ball  (half -point)  position;  while  the 
point  position  should  be  used  sparingly,  for  it  is 
exhausting. 

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THE   CHALIF   TEXT  BOOK   OF  DANCING 

Aim:  To  bring  strength  and  quickness  at  the 
knee-joint.  More  than  almost  anything  else  a 
toe  dancer  needs  strong  knees,  which  re- 
sult in  straight  knees.  Straightening  the  knee 
pushes  out  the  arch,  making  the  foot  point 
straight  downward  so  that  the  dancer  can  stand 
on  the  very  tip  of  the  toes,  while  the  toes  them- 
selves are  straight  and  strong.  Thus  a  right  po- 
sition of  the  knee  brings  all  of  the  other  parts  of 
the  leg  into  place. 

The  music  is  light  and  staccato,  in  2/4  time. 

FIRST  EXERCISE— EXTENSIONS  WITHOUT 
BATTUS 

Preparation :  Before  the  music  begins  stand  in 
Fifth  Position  with  R  foot  in  front,  make  a  demi- 
plie,  then  straighten  out  the  knees  while  sliding  R 
foot  to  side,  and  finally  place  R  foot  against  the 
front  of  L  ankle,  with  knee  turned  out  and  foot 
horizontal,  i.e.,  not  turned  down.  Extend  R  foot 
sideward  a  little  above  the  floor,  entirely 
straightening  the  knee  and  stretching  the  foot 
downward  (ct  i),  bend  R  foot  close  behind  L 
ankle  with  the  foot  horizontal  again  (ct  2),  and 
repeat,  finishing  with  the  R  foot  bent  in  front 

(ct3.  4). 

Repeat  all  as  long  as  desired  with  R  foot,  bend- 
ing it  behind  and  in  front  alternately,  then  do  the 
exercise  with  L  foot. 

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PET  ITS  BATTBMENTS  SUR  LB  COU  DB  PIED 

Forward.  Practice  the  exercise  extending  the 
foot  forward,  starting  and  finishing  with  the 
foot  bent  in  front. 

Backward.  Do  the  exercise  extending  the  foot 
backward,  starting  and  finishing  with  the 
foot  bent  behind. 

DETAILS 

There  are  two  possible  starting  positions  for 
this  exercise — having  the  Hfted  foot  horizontal, 
or  stretched  downward.  We  have  chosen  the 
former  way  because  it  involves  a  continual  action 
of  the  arch  and  ankle  in  bending  and  stretching, 
which  is  most  beneficial.  The  student  should 
make  sure  that  in  both  the  bent  and  stretched 
positions  the  knee  is  turned  absolutely  to  the  side, 
the  heel  brought  forward  and  toe  turned  back- 
ward. It  is  only  when  the  knee  is  turned  out  to 
the  correct  degree  that  the  thigh  can  be  held 
motionless,  as  it  should  be,  and  all  of  the  action 
be  confined  to  the  knee-joint. 

The  movements  should  be  short  and  "snappy," 
each  position  being  taken  with  decision,  then  held 
motionless  for  a  moment  to  insure  clearness  of 
execution  rather  than  sloppiness.  All  of  the  body 
except  the  lower  leg  should  be  held  motionless  but 
relaxed. 

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THE   CHALIF   TEXT  BOOK   OP  DANCING 

SECOND  EXERCISE— BATTUS  IN  IRREGULAR 
RHYTHM 

The  preparation  for  all  the  exercises  is  the 
same  as  for  the  first  one.  Make  2  quick  little 
beats  around  the  ankle  (behind  and  in  front* 
ct  i),  rest  (ct  2).    Repeat  as  long  as  desired. 

THIRD  EXERCISE— SAME  ELABORATED 

Repeat  the  previous  exercise  twice  (cts  1-4), 
then  do  it  3  times,  omitting  the  rests  (ct  5,  6,  7), 
and  rest  (ct  8).  Saying  omit  the  rests  does  not 
convey  exactly  the  right  impression,  for  there 
should  still  be  slight  rests;  the  2  beats  should  be 
done  in  such  very  quick  succession  that  there  is 
time  to  rest  before  the  next  count. 

FOURTH  EXERCISE— 2  BATTUS  AND 
1  EXTENSION 

Make  2  very  small  beats  on  L  ankle  with  R 
heel,  in  front  and  behind,  the  foot  staying  very 
close  to  the  ankle  (ct  1,2),  extend  the  foot  side- 
ward as  in  the  first  exercise,  or  point  it  strongly 
against  the  floor  (ct  3),  and  hold  (ct  4).  Con- 
tinue as  long  as  desired. 

FIFTH  EXERCISE— 3  BATTUS  AND 
1  EXTENSION 

Make  3  very  quick  beats  around  the  ankle  in 
front,  behind,  and  in  front  (ct  i,  and,  2),  extend 

122 


PET  ITS  BATTEMENTS  SUR  LE  COU  DE  PIED 

or  point  the  foot  to  side  (ct  3),  hold  (ct  4).    Con- 
tinue as  long  as  desired. 

SIXTH  EXERCISE— MANY  BATTUS  AND 
EXTEND  ON  CT.  3 

Make  as  many  beats  as  possible  around  the 
ankle  with  R  foot  (ct  i,  2),  extend  or  point  the 
foot  to  side  (ct  3),  and  hold  (ct  4).  Continue  as 
long  as  desired. 

SEVENTH  EXERCISE— MANY  BATTUS  AND 
EXTEND  ON  CT.  7 

Make  little  beats  around  the  ankle  for  6 
cts,  extend  or  point  the  foot  to  side  (ct  7),  and 
hold  (ct8). 

The  fourth,  fifth,  sixth,  and  seventh  exercises 
should  all  be  practiced  forward  and  back,  as  well 
as  sideward. 

EIGHTH  EXERCISE— BATTUS  ONLY 
Make  little  beats  around  the  ankle  continuously 
without  extending  or  pointing  the  foot  at  all. 

NINTH  EXERCISE— BEATINGS  CALF-HIGH 

Lift  the  foot  to  the  Medium  Closed  Flowing 
Position,  i.e.,  place  the  toes  of  R  foot  just  in 
front  of  the  L  calf,  the  foot  being  stretched  down. 
Any  of  the  foregoing  7  exercises  may  be  practiced 
from  this  starting  point,  the  knee  remaining  at 

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THE   CHALIF   TEXT  BOOK   OF  DANCING 

the  height  it  now  is  whenever  the  foot  is  ex- 
tended. 

TENTH  EXERCISE— BEATINGS  KNEE-HIGH 

Practice  any  of  the  foregoing  7  exercises  in 
High  Closed  Flowing  Position,  which  means  that 
the  working  foot  is  placed  against  the  supporting 
knee.  In  this  case  wherever  the  foot  is  extended 
it  should  be  waist-high  and  a  special  effort  should 
be  made  to  turn  it  well  outward. 

This  is  particularly  valuable  for  the  toe  dancer 
since  it  develops  strength  in  the  thighs,  enabling 
her  to  hold  the  leg  high  for  a  long  time. 

ELEVENTH  EXERCISE— HIGH  BEATINGS 
AND  EXTENSIONS 

Make  many  little  beats  in  High  Closed  Flowing 
Position  (cts  i,  2),  extend  the  foot  forward 
waist-high  (cts  3,  4),  repeat  all  3  times  more,  ex- 
tending the  foot  sideward,  backward  and  side- 
ward (cts  5-16),  then  repeat  all. 

DETAILS 

It  is  of  the  utmost  importance  that  the  very 
small  motion  around  the  ankle  be  outward  and  in- 
ward, rather  than  forward  and  backward,  which, 
without  thinking,  would  seem  the  natural  way. 
The  reason  for  teaching  first  the  first  exercise 
of  this  series  was  to  cultivate  the  in  and  out 

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PETITS  BATTEMENTS  SUR  LB  COU  DB  PIED 

motion  in  an  easy  way,  and  so  prepare  for  doing 
the  same  thing  in  the  small  way  that  is  more  in- 
tangible and  difficult.  As  noted  above,  the  move- 
ment cannot  be  out  and  in  unless  the  knee  is 
turned  directly  out  sideward.  But  the  foot  should 
actually  beat  against  the  ankle  as  if  it  were  a  little 
hammer.  There  is  a  tendency,  especially  in  doing 
the  last  exercise,  to  shake  the  whole  body,  includ- 
ing the  thigh,  and  to  stiffen  the  body  as  well. 
But  this  is  not  at  all  what  is  wanted:  the  body 
must  be  quiet  and  relaxed.  A  good  way  to  get 
the  idea  of  moving  the  lower  leg  only  is  to  place 
the  hand  on  the  knee  to  hold  it  quiet. 


125 


PETITS  BATTEMENTS  FRAPPES 

Pron.  p'tee  batmahN  f rap-pay. 
Translation:     Struck  small  beatings. 

Small  beatings,  striking  the  foot  against  the  floor. 

The  exercise  is  practiced  with  and  without  the 
bar. 
Aim:    To  harden  the  toes  and  consequently  make 

it  easier  to  walk  on  them ;  to  strengthen  and 

quicken  the  knees. 
Music:    Well  accented  2/4  time. 

FIRST  EXERCISE 

The  preparation  is  the  same  as  for  Petits  Batte- 
ments  sur  le  cou  de  pied.  ( See  page  1 20. )  Extend 
R  foot  sideward  a  few  inches  only  from  the  floor 
and  in  doing  so  make  an  emphatic  knock  of  the 
toe  against  the  floor,  actually  making  a  noise  (ct 
i),  bring  the  foot  to  the  back  of  L  ankle  (ct  2), 
and  repeat,  closing  the  foot  in  front  and  behind 
alternately  as  long  as  desired. 

Repeat  the  exercise  with  L  foot. 

This  exercise  may  be  practiced  standing  on  the 
ball  of  the  supporting  foot. 

SECOND  EXERCISE 
Make  2  battus  on  the  ankle   (behind  and  in 
front)  (ct  i),  extend  the  foot  sideward  brushing 

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PBTITS  BATTBMBNTS  FRAPPBS 


the  toe  against  the  floor  (ct  2).    Repeat  as  long  as 
desirable,  then  do  the  exercise  with  L  foot. 

DETAILS 
The  movements  of  the  working  foot  should  be 
most  decisive,  not  only  the  outward  brushing,  but 
the  inward  closing  as  well ;  this  foot  should  actual- 
ly strike  against  the  stationary  foot.  A  clock- 
like precision  should  be  attained  by  holding  each 
of  the  two  positions  motionless  for  a  moment 
after  taking  it.  The  upper  part  of  the  leg  as  well 
as  the  entire  body  should  be  held  motionless. 


127 


ECHAPPES  SUR  LES  POINTES 

Pron.  ay-shappay 

Rising  onto  the  points,  separating  the  feet 
somewhat. 

Echapper  means  to  escape,  or  to  slip.  The 
movement  was  probably  so  named  from  the  fact 
that  the  feet  of  necessity  slip  further  apart  when 
rising  onto  the  points. 

Echappes  are  used  not  only  as  an  exercise  but 
with  great  frequency  in  dance  compositions,  for 
rising  up  and  down  on  the  points  is  in  itself  some- 
thing like  dancing,  with  its  rhythm  and  its  sug- 
gestion of  lightness  and  spriteliness. 

fichappes  are  practiced  in  all  five  positions. 
They  should  be  done  at  the  bar  at  first  to  insure 
correctness,  then  at  the  center. 

;6chappes  are  simples  or  changes  according  to 
whether  the  heels  are  lowered  to  the  same  position 
from  which  they  started,  or  whether  the  positions 
of  the  feet  are  interchanged  from  front  to  back 
when  lowering  the  heels. 

Aim:  To  teach  standing  on  the  points  correctly ; 
to  bring  strength  and  quickness  of  action  to 
the  feet  and  knees. 

Music:    Sharply  accented  2/4  time. 

128 


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ICHAPP^S  SUR  LBS  POINTES 


PREPARATORY  EXERCISE 
DEMI-ECHAPPE 
Face  the  bar,  holding  it  with  both  hands. 
Standing  in  First  Position  with  toes  well  turned 
out,  rise  onto  the  balls  of  the  feet  (cts  i,  2), 
lower  the  heels  (cts  3,  4),  and  repeat  for  16  times 
in  all. 

When  rising  see  that  the  instep  is  well  elevated ; 
think  of  pushing  it  outward. 

FIRST  EXERCISE 
ECHAPPES  SIMPLES 

Face  the  bar,  holding  it  with  both  hands,  while 
standing  in  First  Position.  Make  a  small  demi- 
plie,  then  spring  up  quickly  onto  both  points,  keep- 
ing the  feet  turned  out  (ct  i),  hold  (cts  2,  3,  4), 
lower  the  heels  (ct  5),  rest  (cts  6,  7,  8).  Repeat 
8  or  more  times  in  all. 

Many  teachers  think  it  advisable  to  emphasize 
bending  the  knees  slightly  just  before  rising  onto 
the  points,  but  others  believe  that  it  is  better,  in 
the  interest  of  straight  knees,  to  let  the  students 
do  unconsciously  whatever  bending  is  necessary, 
for  then  they  will  not  be  so  apt  to  bend  them  too 
much  in  dancing.  Emphasis  should  always  be 
laid  on  having  the  knees  straight  after  rising. 

When  the  class  has  become  strong  enough  they 
may  do  the  second  and  third  exercises  immediate- 
ly after  this  one. 

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THE   CHALIF   TEXT  BOOK   OF  DANCING 


SECOND  EXERCISE 
Do  the  above  exercise  twice  as  fast,  rising  onto 
the  points  for  2  cts,  then  lowering  the  heels  for 

2CtS. 

THIRD  EXERCISE 
Do  the  exercise  twice  as  fast,  rising  on  i  ct 
and  lowering  on  ct  2.  The  three  exercises  above 
should  be  practiced  in  all  five  positions,  tho  only 
one  or  two  of  them  in  a  lesson.  Second  position 
is  considered  the  most  difficult. 

fourth  exercise 
echappEs  changes 

Starting  with  R  foot  in  Fifth  Position  behind, 
make  a  demi-plie,  rise  onto  the  points,  lower  the 
heels  with  R  foot  now  in  front  and  L  foot  behind 
in  Fifth  Position;  rise  again  and  finish  with  R 
foot  behind  as  at  first ;  continue  interchanging  the 
position  of  feet  as  long  as  the  exercise  is 
practiced. 

This  exercise  may  be  done  in  the  tempos  of  the 
first  three  exercises. 

FIFTH  EXERCISE 

USING  IRREGULAR  RHYTHM 

fichappes  simples  or  changes  may  be  practiced 

thus:    Rise  (ct  i),  hold  (cts  2,  3),  lower  (ct  4) ; 

or  rise  (ct  i ) ,  hold  (cts  2-7) ,  lower  (ct  8) .    This 

method  conveys  the  idea  of  rising  quickly. 

130 


&CHAPP&S  SUR  LBS  POINTBS 


SIXTH  EXERCISE 
RISING  FROM  BALL  TO  POINT  POSITION 

Starting  from  any  one  of  the  five  positions,  rise 
onto  the  balls  of  the  feet  (ct  i),  rise  onto  the 
points  without  lowering  the  heels  (ct  2),  sink  to 
the  balls  of  the  feet  again  (ct  3),  lower  the  heels 
(ct  4).  Repeat  as  many  times  and  in  as  many 
positions  as  desired. 

Note:  All  of  these  exercises  may  later  on  be 
practiced  with  the  bar  held  by  one  hand  only,  and 
at  the  center. 

RULES  OF  EXECUTION 

Rise  quickly  with  the  weight  on  both  feet  equally. 
Do  not  make  it  easier  by  first  stepping  on  one 
point,  then  using  the  other  foot  to  help  bol- 
ster it  up. 

Push  the  ankle  and  arch  outward  so  that  the  toes 
may  be  perpendicularly  placed. 

Try  to  bring  the  heels  forward  when  rising. 

See  that  the  knees  are  absolutely  straight  after 
rising.  Press  them  backward  to  make 
them  so. 

See  that  the  knees  are  well  turned  out. 

In  doing  echappes  changes  keep  the  shoulders 
facing  straight  forward,  making  the  legs 
rotate  rather  than  turning  the  whole  body. 

131 


GRANDS  BATTEMENTS 

Pron.  grahN  batmahN.     Translation:  High  beatings. 
Lifting  the  leg  from  the  hip  and  lowering  it. 

While  grands  battements  do  not  vitally  affect 
the  toes  themselves,  they  are  very  necessary  to 
enable  the  toe  dancer  to  lift  her  legs  high  and 
easily,  so  that  she  may  take  and  hold  the  high, 
exaggerated  positions  required  of  her. 

The  exercise  is  practiced  in  all  five  positions, 
in  three  directions,  and  with  and  without  the  bar, 
preferably  with  it  at  first. 

Aim:  To  give  freedom  at  the  hip-joint,  to 
stretch  and  strengthen  the  legs,  and 
straighten  the  knees ;  to  teach  a  quick  throw- 
ing out  of  the  foot,  and  a  stretching  down 
of  the  toes  when  raising  the  foot. 

Music:    Strongly  accented  2/4  or  6/8  time. 

RULES  OF  EXECUTION 

First  do  the  outward  movement  of  a  petit  batte- 
ment,  then  lift  the  leg,  but  do  it  all  with  one 
swing,  i.e.,  lift  the  leg  but  keep  the  toes  on 
the  floor  as  long  as  you  can. 

In  lowering  the  leg  touch  the  floor  with  the  toes 
first. 

132 


Grands  Battcments  in  3  Directions 
The  2nd,  4th  Anterior  and  4th  Posterior  Aerial  Positions 
sometimes  called  High  Open  Flowing  Positions 


GRANDS  BATTEMENTS 


Have  the  same  arched  position  of  foot  and  turn- 
ing out  of  leg  as  in  petits  battements. 
Keep  both  knees  straight. 
Hold  the  body  motionless. 
Finish  with  both  feet  flat  on  the  floor. 

Be  sure  that  the  feet  are  in  closed  position  in 
finishing. 

Make  a  short  pause  after  each  turn  to  a  closed 
position,  but  do  not  try  to  pause  in  the  air. 

Finish  with  aplomb,  i.e., do  not  re-adjust,  improve, 
fix  up  the  position,  or  wiggle  the  feet  at  the 
end  of  a  Grand  Battement.  Try  to  finish 
correctly,  but  if  you  do  not,  at  least  you  can 
remain  quiet. 

Make  the  movements  forceful,  quick  and  clearcut. 

At  first  do  not  try  to  lift  the  foot  high,  for  it  is 
not  advisable  to  stretch  the  muscles  too  sud- 
denly, and  it  does  not  develop  correct  danc- 
ing. Lift  it  only  as  high  as  you  can  perfect- 
ly, with  leg  and  foot  turned  out,  both  knees 
straight,  and  body  motionless ;  then  little  by 
little  let  it  be  lifted  higher  until  it  goes  above 
the  waistline — 120°  or  more. 

EXERCISES 
Any  or  all  of  the  exercises  of  Petits  Batte- 
ments may  be  done  in  Grand  Battements,  i.e.,  the 
foot  being  lifted  instead  of  kept  on  the  floor. 

133 


THE    CHAUF   TEXT   BOOK   OF   DANCING 

THE  EXERCISE  SLOWLY 

Lift  the  leg  sideward  (or  forward  or  back- 
ward) (ct  i),  and  very  slowly  lower  it  to  Fifth 
Position  (cts  2-8). 

The  exercise  may  be  practiced  in  all  directions 
and  in  all  the  forms  of  grand  battement. 


134 


FLEXER  LE  GENOU 

Pron.  flexay  le  zhe-noo.    Translation  :  Flexing  of  the  knee. 

Lifting  and  bending  the  knee. 

This  exercise  is  executed  sideward  only,  and 
is  usually  practiced  in  Fifth  Position  and  accom- 
panied by  a  rising  onto  the  ball  of  the  supporting 
foot. 

Aim:  To  stretch  the  hip-joint  and  so  procure 
more  freedom  there ;  to  strengthen  the  thigh 
and  make  the  knees  supple;  to  turn  out  the 
legs ;  to  bring  strength  and  springiness  to  the 
feet. 

Music:    6/8  or  quick  waltz  time. 

THE  EXERCISE 

Starting  with  R  foot  in  Fifth  Position  in  front, 
bend  both  knees  slightly,  then  rise  onto  the 
ball  (or  point)  of  L  foot,  straightening  the  L 
knee,  and  lift  R  knee  sideward  as  high  as  possible 
with  foot  stretched  down,  the  knee  being  bent  so 
much  that  the  toe  almost  touches  the  supporting 
leg  (ct  i),  and  lower  L  heel  to  the  floor  while 
bringing  R  foot  down  to  Fifth  Position  behind, 
with  foot  flat  on  the  floor  (ct  2).  Repeat,  lower- 
ing the  foot  to  Fifth  Position  in  front. 

135 


THE   CHALIF   TEXT  BOOK   OF  DANCING 

Repeat  8  or  i6  times  in  all,  then  turn  and  do 
the  exercise  an  equal  number  of  times  with  L 
foot. 

A  more  difficult  way  of  doing  this  exercise  is 
keeping  the  supporting  knee  straight  always,  con- 
fining the  up  and  down  motion  entirely  to  move- 
ment of  the  ankle  and  arch. 

When  practiced  at  the  center  the  exercise  may 
be  done  alternating  the  feet,  progressing  forward 
and  backward  and,  if  desired,  lifting  the  arms 
to  Fifth  Position  on  each  ct  i  and  lowering  them 
to  Second  on  each  ct  2. 

RULES  OF  EXECUTION 
Lift  the  knee  with  much  force  and  vim. 
Turn  the  knee  out  directly  sideward. 
Think  of  relaxing  at  the  hip-joint  to  make  the 

knee  go  higher. 
Stretch  the  foot  downward  very  hard. 


136 


GRANDS  FOUETTlSS 

Pron,  grahN  foo-ettay. 
Translation :  Large  whipped  movement. 

Lifting  the  leg  zvith  knee  bent  at  first,  then 
straightened  out. 

Grand  Fouette  is  like  a  grand  battement  with 
an  added  finishing  touch  to  make  it  graceful — an 
elaborated,  ornamented  grand  battement.  The 
movement  is  called  "whipped"  because  it  is  like 
the  cracking  of  a  whip. 

The  exercise  is  usually  accompanied  by  a  rising 
onto  the  ball  of  the  foot. 

It  is  practiced  in  sideward  and  forward  direc- 
tions and  in  turning,  and  with  and  without  the 
bar. 

The  first  part  of  this  exercise  is  Flexer  le 
Genou,  and  after  that  the  knee  is  straightened 
out. 

Aim:  All  the  benefits  to  be  derived  from  Flexer 
le  Genou  are  applicable  here,  and  in  addition 
this  exercise  aims :  To  develop  dexterity  of 
the  knees,  quickness  of  action  at  the  knee- 
joint,  and  the  habit  of  taking  a  foot  position 
with  grace,  rather  than  abruptly. 

Music:    6/8  or  quick  waltz  time. 

137 


THE   CHALIF   TEXT  BOOK   OF  DANCING 

THE  EXERCISE 

Starting  with  R  foot  in  Fifth  Position  in  front, 
Hft  R  knee  sideward,  then  stretch  the  foot  out 
sideward,  entirely  straightening  the  knee,  but 
running  both  the  movements  together  in  one  con- 
tinuous movement,  and  simultaneously  rise  onto 
the  ball  (or  point)  of  L  foot  (ct  i )  ;  bring  R  foot 
down  to  Fifth  Position  behind,  keeping  the  knee 
straight,  and  simultaneously  lower  L  heel  (ct  2)  ; 
repeat,  finishing  with  R  foot  in  Fifth  Position  in 
front  (cts  3,  4).  Repeat  all  8  or  16  times  in  all, 
then  face  about  and  do  the  exercise  with  L  foot. 

Practice  the  exercise  forward,  starting  and  fin- 
ishing in  Fifth  Position  in  front  and  backward, 
finishing  in  Fifth  Position  behind. 

RULES  OF  EXECUTION 
Let  the  foot  creep  up  along  the  back  (or  front) 
of  the  supporting  leg  as  high  as  the  knee,  then 
throw  it  outward,  but  blend  these  two  parts  to- 
gether into  one  movement  that  is  like  the  cracking 
of  a  whip  and  as  quick  as  a  flash. 

Do  not  let  the  foot  "flop"  at  the  end  of  the  ex- 
tension; keep  it  stretched  and  under  control,  while 
thinking  of  sending  strength  to  the  toes. 

Either  keep  the  supporting  knee  straight  all  the 
time,  confining  the  up  and  down  motion  to  the 
ankle     and     arch,     or     consciously    bend    and 

138 


GRANDS  FOUBTT^S 


Straighten  the  supporting  knee.  Do  not  follow 
the  half-way  method  of  bending  the  supporting 
knee  slightly  all  of  the  time,  for  this  shows  weak- 
ness or  lack  of  control. 


139 


RONDS  DE  JAMBE 

Circles  with  the  leg 

This  exercise  is  like  Petits  Ronds  de  Jambe 
except  that  the  toes  are  Hfted  from  the  floor,  and 
the  working  knee  bent  somewhat,  to  prevent  a 
look  of  stiffness. 

Ronds  de  Jambe  may  be  done  forward  (called 
outward — en  dehors)  and  backward  (called  in- 
ward— en  dedans),  and  are  practiced  in  First, 
Third  and  Fifth  Positions. 
Aim:    The  purposes  are  the  same  as  for  Grands 

Battements,  and  in  addition  more  dexterity 

is  acquired,  and  the  leg  is  trained  to  move 

in  a  circle  and  quickly. 
Music:    2/4  time  is  a  sustaining  accompaniment, 

or  the  6/8  time  used  in  barcarolles. 

RULES  OF  EXECUTION 
See   the  General   Rules   of   Petits   Ronds   de 
Jambe,  and  in  addition : 

Do  the  movements  with  tremendous  force  and 
energy,  giving  the  leg  a  beginning  impetus 
that  seems  to  carry  it  high  forward  and  far 
outward. 
Remember  that  the  heel  should  lead  in  order  to 
turn  out  the  leg. 

140 


RONDS   DE  JAMBE 


After  going  forward  (or  backward)  think  of 
throwing  the  knee  forcefully  outward.  We 
say  knee  rather  than  foot  because  the  knee 
seems  to  lead  after  the  exercise  is  started. 

Bend  the  knee  at  about  a  135"  angle. 

Be  sure  to  finish  in  a  closed  position  with  feet  flat 
on  the  floor,  and  with  no  adjusting  after- 
wards. 

Hold  the  body  motionless. 

PRINCIPAL  EXERCISE 

The  preparation  is  the  same  as  for  Petits  Ronds 
de  Jambe.  (See  page  no.)  Lift  R  leg  sideward 
high  with  knee  straight  (a  grand  battement;  ex- 
tra prep,  m'v't ;  ct  and), quickly  bring  the  leg  down 
and  pass  it  thru  First  and  Fifth  Positions  with 
the  whole  sole  of  the  foot  on  the  floor,  and  as  a 
continuation  of  this  movement,  lift  it  high  for- 
ward, the  toes  being  the  last  thing  to  leave  the 
floor,  and  the  knee  bending  a  little  (ct  i),  swing 
the  leg  far  outward  in  a  circular  path  to  Second 
Aerial  Position,  waist-high,  then  close  it  to  Fifth 
Position  behind  with  knee  straight  and  foot  flat 
on  the  floor  (ct  2).  Repeat  8  or  16  times  in  all, 
beginning  each  execution  with  a  preparatory 
sideward  lifting  of  the  foot. 

Do  the  exercise  with  L  foot. 

Do  it  backwards  with  R  and  L  foot,  again 
starting  from  Fifth  Position  behind,  taking  care 

141 


THE   CHALIF   TEXT   BOOK   OP  DANCING 

to  Start  directly  backward,  and  to  turn  the  knee 
outward  when  Hfting  it  sideward. 

Do  it  forward  and  backwards  alternately  with 
R  foot,  then  do  it  with  L  foot. 

OTHER  EXERCISES 
All  of  the  exercises  of  Petits  Ronds  de  Jambe 
may  be  practiced  as  Ronds  de  Jambe. 


142 


DEVELOPPfiS 

Pron.  dayvelopay.     Translation :  Unfolding  movement. 
Lifting  and  extending  the  leg  slowly. 

The  exercise  should  be  practiced  at  the  bar  first, 
and  afterwards  at  the  center.  It  is  done  in  all 
three  directions. 

Developpe  is  much  used  in  adagio  work  (slow 
movements)  particularly  when  the  dancer  is  being 
supported  by  a  male  partner. 

Aim:  To  strengthen  the  thighs,  so  as  to  become 
able  to  hold  the  leg  up  for  a  long  time,  some- 
thing absolutely  essential  in  toe  dancing.  To 
inculcate  the  idea  that  if  the  foot  is  to  be 
turned  out,  the  turning  must  take  place  at 
the  hip-joint.  To  stretch  the  legs,  thereby 
straightening  the  knees,  and  to  teach  holding 
them  straight  when  the  leg  is  lifted.  To 
teach  control  by  keeping  all  but  one  part  of 
the  body  motionless.  To  prepare  for  doing 
grands  ronds  de  jambe  correctly.  To  im- 
prove the  balance  when  practiced  at  the 
center. 

Music:  Slow,  melodious  music  in  2/4  or  4/4  time. 

143 


THB   CHALIP   TEXT   BOOK   OP  DANCING 

FIRST  EXERCISE 

Developpe  a  la  quatri^me  en  Vair  en  avant 

Pron.  Dayvelopay  a  la  cat-re-em  ahN  I'air  ahn  avahN 

Translation:  Unfolding  movement  forward  in  4th 

position  in  the  air. 

Preparation:  Starting  with  R  foot  in  Fifth 
Position  in  front,  make  a  demi-plie,  i.e.,  bend 
slightly,  then  straighten  out  the  knees  and  point 
R  foot  forward,  then  lift  R  foot  to  the  inside  of 
the  supporting  L  knee,  while  rising  onto  the  ball  of 
L  foot,  the  lifted  R  knee  being  turned  out  direct- 
ly sideward  (the  position  of  a  previous  exercise, 
Flexer  le  Genou).  When  the  music  starts  extend 
the  foot  forward  very  slowly,  straightening  out 
the  knee  (8  cts) ,  hold  the  leg  in  this  lifted  position 
(cts  9-14),  lower  the  R  toe  to  Fourth  Position 
on  the  floor,  then  to  Fifth  Position  in  front,  keep- 
ing the  knee  straight  while  doing  so,  and  finishing 
with  both  heels  lowered  to  the  floor  (cts  15,  16). 

Repeat  four  or  eight  times  in  all  with  R  foot, 
then  face  in  the  opposite  direction  and  repeat  with 
L  foot. 

Do  the  exercise  to  the  side,  a  la  seconde  en  I'air 
(pron.  a  la  sgoNd  ahN  lair).  In  this  case  point 
the  foot  sideward  after  making  the  preparatory 
demi-plie. 

Do  it  backwards,  a  la  quatrieme  en  Tair  en 
arriere,  pointing  the  foot  backward  after  making 
the  preparatory  demi-plie. 

144 


D6VEL0PP&S 


In  doing  the  exercise  sideward  or  backward, 
both  hands  may  hold  the  bar  to  make  it  a  Httle 
easier.  Note  that  the  starting  position  is  the  same 
no  matter  in  what  direction  the  foot  is  to  be  ex- 
tended. 

SECOND  EXERCISE 

Do  the  exercise  extending  the  foot  once  only 
in  each  direction,  i.e.,  forward,  sideward,  back- 
ward and  sideward,  repeating  this  succession  as 
long  as  desired. 

THIRD  EXERCISE 

Do  the  exercise  rising' onto  the  ball  of  L  foot 
(ct  i),  slowly  straighten  R  foot  out  sideward, 
waist-high  (cts  2-8),  slowly  lower  R  leg  sideward, 
keeping  the  knee  straight,  until  the  toe  touches  the 
floor  (cts  9-14),  bend  R  foot  in  front  of  L  ankle 
(ct  15),  return  R  foot  to  Fifth  Position  in  front, 
lowering  L  heel  to  the  floor  (ct  16).  Repeat  in 
all  directions. 

RULES  OF  EXECUTION 

for  Developpes  in  any  direction 

Make  the  preparatory  lifting  of  the  knee  a  very 

quick  movement. 
In  this  starting  position  make  sure  that  the  knee 
is  turned  directly  sideward;  that  the  toes  are 
stretched  down,  but  not  so  strongly  as  to 

145 


THE    CHALIF   TEXT   BOOK    OF   DANCING 


make  them  turn  in;  that  the  heel  is  brought 

forward,  and  the   foot  directed  backward, 

making  a  forward  curve  of  the  arch. 
Think  that  the  heel  should  lead  (except  in  the 

backward  extension),  to  insure  the  legs  being 

turned  out. 
Think  of  trying  to  keep  the  knee  out  sideward  for 

the  same  reason. 
Do  not  begin  by  bringing  the  knee  forward. 
Try  to  turn  out  the  leg  so  far  that  the  foot  is 

horizontally  placed. 
In  the  backward  extension  see  to  it  that  the  toes 

point  upward. 
Lift  the  leg  to  waist-height. 
Straighten  out  the  knee  absolutely  straight. 
Think  of  sending  strength  to  the  toes  and  feet,  as 

you  stretch  them  so  that  you  may  strengthen 

the  feet  for  toe  dancing  as  well  as  the  thighs. 


146 


GRANDS  RONDS  DE  JAMBE 

Pron.  grahN  rawN  de  zahN&. 
Translation :  Large  circles  with  the  leg. 

Large  circles  in  the  air  with  the  foot,  without 
touching  the  floor  betzveen  circles. 

There  is  forward  or  outward  (en  dehors)  cir- 
cling, and  backward  or  inward  (en  dedans) 
circling. 

The  exercise  must  be  learned  at  the  bar  first  to 
insure  its  correct  execution,  but  afterwards 
should  be  practiced  at  the  center. 

The  first  part  of  every  Grand  Rond  de  Jambe 
is  a  Developpe. 

Grands  Ronds  de  Jambe,  and  especially  demi- 
(half )  Ronds  de  Jambe  are  much  used  in  classical 
and  toe  dancing  to  add  grace  and  finish  to  the 
steps,  and  also  to  fill  out  the  full  time  of  the 
music  with  rhythmical  movement,  since  moving 
the  foot  in  a  curved  path  takes  a  longer  time  than 
in  a  straight  one,  and  gives  a  more  beautiful  ef- 
fect. When  a  toe  dancer,  supported  by  her  male 
partner,  spins  around  on  one  toe,  it  is  a  Grand 
Rond  de  Jambe  that  gives  her  the  necessary  im- 
petus. There  are  also  other  hopping  turns  for 
which  this  circling  provides  the  initial  force. 

147 


THE   CHALIF   TEXT  BOOK   OP  DANCING 

Aim:  See  the  aims  of  Developpes,  which  is  the 
beginning  of  Grand  Rond  de  Jambe,  exe- 
cuted more  slowly.  Other  aims  of  circling 
are :  To  train  the  leg  to  move  in  a  circular 
path  slowly  and  smoothly,  and  thus  to  bring 
control  of  movement  at  the  hip-joint. 

Music:    The  same  as  for  Developpes. 

FIRST  EXERCISE 

The  preparation  is  the  same  as  for  Developpes. 
Extend  R  foot  forward  (as  in  Developpes), 
then,  keeping  it  waist-high,  slowly  swing  it  out- 
ward to  the  Second  Aerial  Position  (ct  i,  2,  3), 
while  keeping  the  thigh  as  it  is,  bend  the  knee, 
bringing  the  foot  near  the  supporting  knee — the 
starting  position  for  this  exercise  (ct  4). 

Repeat  four  or  eight  times  in  all,  without  lower- 
ing the  foot,  and  after  finishing  the  last  circle, 
make  a  very  quick  grand  battement  forward  be- 
fore bringing  the  foot  down  to  Fifth  Position  in 
front  to  finish. 

Repeat  with  L  foot. 

Do  Grands  Ronds  de  Jambe  backward  with  R 
foot  and  with  L  foot,  starting  by  extending  the 
foot  directly  backward,  then  swinging  it  out  side- 
ward, being  sure  to  turn  the  heel  forward  when 
reaching  the  sideward  position. 

This  exercise  may  be  done  twice  as  slowly  as 
described. 

148 


GRANDS  RONDS  DE  JAMBE 


SECOND  EXERCISE 
Do  one  Grand  Rond  de  Jambe  forward  and 
one  backward,  thereby  describing  a  figure  eight. 
Repeat  eight  times  or  more,  then  repeat  with  L 
foot. 

THIRD  EXERCISE 
Do  two  fast  Grands  Ronds  de  Jambe  forward 
(cts  I,  2),  extend  the  foot  forward  (developpe; 
ct  3),  hold  (ct  4),  and  repeat  all,  circling  back- 
ward, and  extending  the  foot  backward  (cts  5-8). 
Repeat  these  8  cts  for  eight  times  or  more. 

FOURTH  EXERCISE 

Do  six  fast  Grands  Ronds  de  Jambe,  taking  2 
cts  for  each  (cts  1-12),  slowly  extend  the  foot  to 
Second  Aerial  Position  (cts  13-16),  repeat  three 
times  more  with  R  foot,  then  do  the  exercise  with 
L  foot. 

The  exercise  is  practiced  circling  forward,  ex- 
tending the  foot  forward,  and  circling  backward, 
extending  the  foot  backward. 

It  is  also  practiced  in  combined  directions. 

RULES  OF  EXECUTION 
All  of  the  General  Rules  for  Developpes  apply 

here,  and  in  addition: 
Move  the  leg  most  smoothly,  not  stopping  at  the 

forward  or  backward  extension,  but  moving 

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THE   CHALIF   TEXT  BOOK   OF  DANCING 

continuously  except  for  a  slight  pause  when 
the  foot  is  bent  under. 

Be  sure  to  keep  the  foot  turned  out  when  reach- 
ing the  sideward  extension.  Try  to  keep  the 
foot  placed  horizontally,  the  heel  being 
farther  forward  than  the  toes. 

Be  sure  to  straighten  out  the  knee  fully  in  the 
sideward  extension.  You  only  cheat  your- 
self out  of  much  benefit  if  you  cut  off  a  cor- 
ner of  the  exercise  by  bending  the  knee  too 
soon. 

Keep  the  supporting  knee  straight. 

Do  not  allow  the  thigh  to  fall  below  the  waist- 
line between  circles.  Hold  it  up  high  all  the 
time,  even  if  you  think  you  cannot.  Become 
a  heroine  by  enduring  hardships  stoically. 
Call  out  your  reserve  strength. 


150 


GRANDS  RONDS  DE  JAMBE  PLIES 

Large  circles  in  the  air  with  the  foot,  while 
bending  the  supporting  knee 

This  is  the  previous  exercise  with  bending  and 

straightening  of  the  supporting  knee  added. 
An   illustration   of    the   exercise   is   opposite 

page  112, 

Aim:  The  advantages  are  combined  of  Grands 
Ronds  de  Jambe  and  Plier.  The  principal 
merit  of  this  exercise  lies  in  the  fact  that 
both  thighs  are  strengthened  simultaneously, 
one  being  lifted  and  the  other  bent. 

Music:  The  same  as  for  Grands  Ronds  de  Jambe. 

THE  EXERCISE 
The  preparation  is  the  same  as  for  the  two 
previous  exercises.  Start  to  describe  a  circle  for- 
ward with  R  foot  while  bending  the  supporting 
L  knee  as  much  as  is  easily  possible,  turning  it 
out,  and  allowing  the  heel  to  rise  from  the  floor 
(ct  I,  2),  when  R  foot  reaches  the  sideward  ex- 
tension (with  knee  still  straight)  straighten  the 
supporting  L  knee,  so  that  both  knees  have  a  good 
stretch  (ct  3),  keep  the  supporting  knee  straight 
while  bending  R  foot  under  to  the  starting  position 
(ct  4).  Repeat  four  or  eight  times  with  R  and  L 
foot,  then  do  the  exercise  circling  backward.  The 
second  exercise  also  of  Grands  Ronds  de  Jambe 
may  be  practiced  bending  the  supporting  knee. 

151 


PETITS  RONDS  DE  JAMBE  EN  L'AIR 

Little  circles  in  the  air,  moving  the  leg  from  the 
knee  down  only 

The  leg  seems  to  move  from  the  knee  down 
only,  but  in  reality  the  thigh  rotates  invisibly. 

The  exercise  is  practiced  with  the  knee  lifted 
sideward. 

The  circling  is  done  forward  and  backward. 

Aim:    Dexterity  and  strength  at  the  knee-joint. 
Music:    The  same  as  for  Petits  Ronds  de  Jambe. 

FIRST  EXERCISE 

The  preparation  is  the  same  as  for  Developpe, 
except  that  the  lower  part  of  the  leg  is  extended 
downward  perpendicularly.  See  page  144.  While 
keeping  the  knee  just  where  it  is,  describe  a  little 
forward  circle  with  the  foot  (ct  i),  repeat  13 
times  more  (cts  2-14),  extend  the  foot  sideward, 
straightening  the  knee  (ct  15),  lower  the  foot  to 
Fifth  Position  in  front,  keeping  the  knee  straight 
(ct  16). 

Turn  to  face  in  the  opposite  direction  and  re- 
peat with  L  foot. 

Do  the  circling  backward  with  R  and  L  feet, 
starting  with  the  knee  lifted  sideward  as  in  the 
forward  circling. 

152 


PBTITS  RONDS  DE   JAMBB  EN  L'AIR 

SECOND  EXERCISE 

Preparation:  Lift  the  knee  sideward  with 
lower  leg  extended  downward  perpendicularly  as 
before.  Describe  7  little  forward  circles  with  the 
foot  (cts  1-7),  pause,  with  foot  pointed  down- 
ward in  the  preparatory  position  (ct  8) ;  do  7 
little  backward  circles  and  pause  (8  cts) ;  repeat 
all  (16  cts). 

THIRD  EXERCISE 

Preparation :  Lift  R  knee  sideward  as  before. 
Describe  6  little  forward  circles  with  R  foot  (cts 
1-6),  extend  R  foot  slowly  forward,  waist-high 
(developpe — ct  7,  8)  ;  repeat  the  6  little  forward 
circles,  then  extend  the  foot  sideward,  waist-high 
(the  2nd  8  cts)  ;  do  6  little  backward  circles,  then 
extend  the  leg  backward  as  high  as  possible  (3rd 
8  cts)  ;  do  6  little  forward  circles  and  extend  the 
foot  sideward  again  (4th  8  cts) .  Finish  by  bring- 
ing the  foot  down  to  Fifth  Position  behind. 

RULES  OF  EXECUTION 

Keep  the  lifted  knee  motionless.  You  may  place 
a  finger  on  it  if  you  like ;  this  helps  in  getting 
the  idea. 

Be  sure  that  the  knee  is  lifted  directly  sideward. 

Keep  the  foot  well  pointed,  arched  and  turned  out, 


the  heel  leading. 


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THE   CHALIF   TEXT  BOOK   OP  DANCING 

Do  not  try  to  describe  the  circles  from  the  ankle. 
Do  them  from  the  knee,  and  imagine  that 
you  are  writing  circles  with  the  tip  of  the 
toes,  there  being  no  action  in  the  ankle  and 
arch. 

Hold  the  supporting  knee  straight,  and  stand 
erect. 


154 


ADAGIO 

A  slozv  exercise  for  the  entire  body 

At  the  Bar 

Slow  4/4  or  6/8  time  music 

Preparation  (see  page  144) :  Extend  R  foot 
forward  very  slowly,  waist-high,  completely 
straightening  out  the  knee  (4  slow  cts),  move  the 
leg  in  a  large  semi-circle  to  side  and  back,  finish- 
ing with  it  stretched  back  perfectly  straight,  and 
the  trunk  inclined  forward,  the  R  arm  stretched 
forward  so  that  arm,  trunk  and  leg  make  a  hori- 
zontal line  (cts  5-8)  ;  rise  onto  the  ball  (or  point) 
of  the  foot,  then  lift  the  trunk  and  bend  it  and 
the  head  backward,  while  keeping  the  foot  lifted 
high  backward  from  the  hip,  and  raising  the  R 
irm  to  Fifth  Position  (cts  9-12)  ;  slowly  resume 
an  erect  position,  lowering  the  foot,  closing  be- 
hind, and  bringing  the  arm  down  to  Second 
Position. 

Practice  the  exercise  once  more  with  R  foot, 
then  do  it  with  L  foot. 


155 


PLIE  ROND  DE  JAMBE  ET 
DEGAGER 

Small  foot  circles  with  transferring  the  weight 
back  and  forward 

To  be  practiced  with  and  without  the  bar. 
Melodious  2/4  or  4/4  time  music. 

THE  EXERCISE 

Starting  from  Fifth  Position  with  R  foot  in 
front,  sHde  R  foot  forward,  bending  L  knee,  sHde 
it  around  to  side  and  rather  far  backward,  mean- 
while keeping  L  knee  bent  (4  cts),  transfer  the 
weight  back  onto  R  foot  with  R  knee  straight  and 
L  foot  now  pointed  forward  (ct  5,  6),  transfer 
the  weight  forward  onto  L  foot  with  L  knee 
straight  (ct  7),  close  R  foot  to  L  foot  in  Fifth 
Position  behind  (ct  8).  During  cts  i,  2  the  R 
arm  remains  in  Second  Position;  during  cts  3,  4  it 
is  brought  forward  with  palm  down;  during  ct 
5,  6  it  is  lifted  to  Fifth  Position,  while  the  trunk 
and  head  are  bent  far  back;  during  cts  7,  8  the 
head  and  trunk  resume  an  erect  position  and  the 
arm  is  lowered  to  Second  Position. 

Repeat  all  with  R  foot  again,  but  just  before 
beginning  make  an  extra  preparatory  movement 
of  sliding  R  foot  out  to  side. 

156 


PU&  ROND  DB  JAMBB  ET  DBGAGBR 

The  exercise  should  then  be  repeated  with  L 
foot. 

DETAILS 

A  knee  when  bending  should  of  course  be 
turned  out.  When  the  knees  should  be  straight 
be  sure  that  they  are  perfectly  straight.  Much 
control  can  be  gained  by  making  a  sharp  distinc- 
tion between  bent  and  straight  knees.  Rise  onto 
the  balls  of  both  feet  when  transferring  the 
weight  from  one  to  the  other. 

Do  the  exercise  with  precision  and  force  of  the 
legs  and  grace  and  relaxation  of  the  upper  part 
of  the  body. 


157 


SIDEWARD  BENDING 

at  the  Bar 
Slow  3/4  time  music 

Face  the  bar,  holding  it  with  both  hands,  the 
feet  being  in  Fifth  Position  with  R  foot  behind. 
Slide  R  foot  to  side  with  the  instep  well  arched, 
while  bending  as  far  to  R  as  possible  and  bringing 
L  arm  sideward  and  upward  to  Fifth  Position 
(cts  I,  2,  3),  resume  an  erect  position,  returning 
R  foot  to  Fifth  Position  behind  and  lowering  L 
arm  to  Second  Position  (cts  4,  5,  6).  It  is  of 
vital  importance  that  both  knees  be  kept  straight, 
to  get  the  benefit  of  the  stretching  of  the  legs. 
Repeat  8  times  in  all  with  R  foot,  then  do  the 
exercise  to  L. 

BACKWARD  BENDING 

at  the  Bar 
Slow  melodious  music 

This  exercise  is  most  valuable  for  developing  a 
good  standing  position  and  for  making  the  back 
flexible. 

Face  the  bar,  holding  it  with  both  hands,  stand- 
ing on  the  points  or  balls  of  the  feet.  Bend  far 
backward  little  by  little,  but  try  to  keep  the  bend- 
ing in  the  upper  part  of  the  back.    If  this  bending 

158 


BEN  DINGS  AT  THE  BAR 


be  done  correctly  the  head  will  be  thrown  very  far 
back,  and  the  chest  much  elevated,  the  stomach 
will  be  drawn  in,  and  there  will  be  comparatively 
little  bending  at  the  waist-line.  The  teacher  can 
help  to  give  the  idea  of  pushing  the  chest  out  by 
placing  a  hand  on  the  pupil's  back  between  the 
shoulder  blades.  This  bending  should  be  held  for 
some  moments,  then  the  normal  position  resumed 
slowly,  the  head  being  the  last  to  return. 
Repeat  2  or  4  times  in  all. 

FORWARD  AND  BACKWARD  BENDING 

at  the  Bar 
Slow  melodious  4/4  time  music 

Stand  sideward  to  the  bar  with  L  hand  grasp- 
ing it,  R  foot  pointed  forward  in  Fourth  Position, 
the  R  arm  being  lifted  to  Fifth  Position.  While 
keeping  both  legs  absolutely  straight,  bend  far 
forward,  bringing  R  arm  downward  and  forward 
until  it  touches  the  R  foot  (4  slow  cts),  slowly  lift 
the  trunk,  then  bend  it  backward  as  far  as  possi- 
ble, and  finally  twist  and  bend  it  to  R,  meanwhile 
lifting  R  arm  high  forward  and  upward,  then 
lowering  it  to  Second  Position  (cts  5-12),  resume 
the  erect,  normal  position,  while  lifting  R  arm 
thru  First  to  Fifth  Position.  Do  the  exercise  4 
times,  then  face  in  the  opposite  direction  and  re- 
peat with  L  foot  forward. 

159 


THE   CHALIP   TEXT  BOOK   OF  DANCING 

TWISTING  THE  TRUNK 

at  the  Bar 
Slow  3/4  time  music 

Stand  sideward  to  the  bar,  the  R  hand  holding 
It,  the  feet  in  Fourth  Position  with  R  foot  in 
front,  the  feet  being  well  turned  out,  and  the 
weight  resting  equally  on  the  whole  soles  of  both. 

Twist  as  far  to  R  as  possible,  bringing  L;  arm 
so  far  around  to  R  as  to  touch  the  bar  behind  the 
shoulder  line  (cts  i,  2,  3),  twist  so  far  to  L  as  to 
touch  the  bar  behind  with  L  hand  (cts  4,  5,  6). 
Repeat  all  8  times,  then  face  in  the  opposite  direc- 
tion and  do  the  exercise  with  L  foot  forward. 


160 


STRETCHING  THE  ARCH  AND  ANKLE 

At  the  Bar 
These  exercises  should  be  given  with  caution, 
remembering  that  strengthening  must  always  go 
hand  in  hand  with  stretching,  that  overstretching 
any  part  weakens  it,  and  that  the  ideal  sought  is 
for  the  foot  to  be  able  to  stretch  itself  downward 
with  its  own  strength,  without  using  the  mechani- 
cal aid  of  the  floor  as  a  lever. 

FIRST  EXERCISE 
Melodious  2/4  or  4/4  time  music 

Point  R  foot  a  short  distance  to  the  R  with 
knee  bent  so  that  the  foot  is  perpendicular  to  the 
floor  (ct  i),  very  slowly  straighten  out  the 
knee  w^hile  keeping  the  toes  firmly  on  the  floor 
where  they  are  (cts  2-6),  close  R  foot  to  L  foot 
in  Fifth  Position  behind  (ct  7),  rest  (ct  8). 

Repeat  8  times  in  all  with  R  foot,  then  with  L 
foot. 

The  exercise  may  be  practiced  forward  and 
backward,  but  sideward  is  the  most  beneficial. 

SECOND  EXERCISE 
2/4  time  music 

Mild  stretching.  Preparation  (see  page  120)  : 
Make  many  little  beats  around  the  ankle  (cts 
I,  2),  extend  R  foot  sideward  a  little  above  the 

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THE    CHALIF   TEXT   BOOK    OF   DANCING 


floor  while  rising  onto  L  ball  (ct  3),  place  the 
arch  of  R  foot  on  the  floor  across  to  L,  behind  L 
foot,  while  bending  the  supporting  L  knee  a  little 
(ct  4),  draw  R  foot  along  the  floor  toward  R,  then 
lift  it  sideward  a  little  way,  while  straightening 
the  L  knee  (cts  5,  6,  7),  rest  (ct  8).  While 
drawing  the  foot  along  the  floor,  hold  it  against 
the  floor  with  force,  so  that  a  stretching  is  felt  in 
arch  and  ankle.  Be  sure  the  R  knee  is  turned 
out  directly  sideward.  Do  the  exercise  8  times 
or  more  with  R  foot,  then  with  L  foot. 

THIRD  EXERCISE 

Slow  4/4  time  music 
More  vigorous  stretching.  Starting  with  R  foot 
in  Fifth  Position  behind,  do  a  grand  battement  to 
side,  closing  the  foot  in  front  (cts  1-4),  do  a  high 
rond  de  jambe  starting  forward  and  finishing 
with  the  arch  placed  on  the  floor  far  backward, 
the  supporting  knee  being  bent  (prolonged  plie) 
and  the  R  knee  straight  (cts  5-8)  ;  keeping  the 
feet  as  they  are,  bend  backward  at  the  waist,  lift- 
ing the  R  arm  thru  First  to  Fifth  Position,  then 
hold  this  position,  while  feeling  a  strong  stretch- 
ing along  the  entire  length  of  the  R  leg  (cts 
9-12);  rise  slowly,  straightening  the  supporting 
L  knee  and  closing  the  R  foot  to  Fifth  Position 
behind  (cts  13-16).  Repeat  4  times  in  all  with  R 
foot,  then  4  times  with  L  foot. 

162 


STRETCHING  THE  ARCH   AND   ANKLE 

The  way  of  placing  the  foot  on  the  floor  is  im- 
portant. It  should  be  only  slightly  turned  out  to 
obtain  the  most  advantage. 

Variation.  The  exercise  may  be  simplified  by 
merely  sliding  the  foot  backward,  bending  the 
supporting  knee  (cts  1-4),  holding  this  position 
(ct  5,  6,  7)  and  rising  again  (ct  8). 

FOURTH  EXERCISE 
Without  music 
Extreme  stretching.  This  violent  exercise  should 
only  be  given  in  cases  where  the  arches  are  so  low 
naturally  that  heroic  treatment  is  necessary  to 
bring  the  foot  to  the  proper  position,  and  where 
the  foot  itself  is  strong  enough  to  stand  the  treat- 
ment. 

Holding  the  bar  with  both  hands,  stand  on  the 
points  with  feet  separated  sideward  about  24 
inches  and  turned  out,  of  course.  Transfer  the 
weight  onto  R  foot,  leaning  to  R  and  pushing  the 
R  ankle  far  outward,  transfer  the  weight  to  L 
foot,  and  continue  swaying  onto  R  and  L  feet 
alternately. 


163 


STRETCHING  AND  TURNING  OUT 
THE  LEGS 

At  the  Bar 
Slow  4/4  time  music 
These  exercises  should  be  given  with  care  and 
not  to  beginners  at  all.  They  should  always  be 
preceded  by  grands  battements  or  other  exercises 
that  stretch  the  hip-joint,  to  "warm  up"  the  large 
muscles  of  the  legs,  and  so  lessen  the  danger  of 
tearing  muscles  and  ligaments  by  too  sudden 
stretching.  Over-ambitious  students  will  some- 
times overdo  this  exercise,  and  so  weaken  instead 
of  strengthen  themselves. 

FIRST  EXERCISE 

Sliding  the  foot  along  the  bar.  Face  the  bar, 
holding  it  with  both  hands.  Stand  with  L  foot 
close  against  the  wall,  turned  out,  and  place  the 
other  foot  on  top  of  the  bar,  also  turned  out.  Slide 
this  foot  along  the  bar  until  the  legs  are  stretched 
as  far  apart  as  possible  (8  cts — 2  meas.)  ;  resume 
the  starting  position  with  foot  remaining  on  top 
of  the  bar  (8  cts — 2  meas.).  Repeat  4  or  8  times, 
then  do  the  exercise  with  L  foot. 

Keep  both  knees  straight  so  as  not  to  miss  the 
stretching  of  the  tendons  at  the  back  of  the  knees. 

164 


STRETCHING  AND  TURNING  OUT  THE  LEGS 

SECOND  EXERCISE 
Bending  forward  and  backward.  Place  R  foot 
on  top  of  the  bar,  holding  with  L  hand  only. 
Bend  forward,  placing  the  R  hand  on  top  of  the 
R  foot  (8  cts),  then  slowly  bend  far  backward 
with  R  arm  Hfted  overhead  (8  cts).  Repeat  sev- 
eral times,  then  do  the  exercise  with  L  foot. 
Keep  both  knees  straight  all  the  time. 

THIRD  EXERCISE 
Bending  one  knee.  Hold  the  bar  with  both  hands. 
With  R  foot  on  top  of  it,  bend  the  L  knee  as  far 
as  possible,  well  turned  out  of  course,  while  keep- 
ing the  body  as  near  to  the  wall  as  possible  (4 
cts)  ;  straighten  the  L  knee  (4  cts).  The  R  knee 
should  be  straight  all  the  time.  Repeat  4  or  8 
times,  then  do  the  exercise  with  L  foot. 

When  bending  thus,  the  students,  taking  turns, 
may  push  each  other  against  the  wall  to  turn  the 
legs  still  farther  out.  To  get  the  most  force  the 
pushing  should  be  done  by  placing  the  front  of 
the  thigh  against  the  student's  back. 

FOURTH  EXERCISE 
Bending  both  knees.  Hold  the  bar  with  both 
bands,  standing  in  First  Position  with  feet  flat 
against  the  wall.  Bend  both  knees  while  being 
pushed  against  the  wall.  Straighten  the  knees 
and  rest  for  a  moment,  then  go  through  the  agony 
again. 

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THE   CHALIF   TEXT  BOOK   OF  DANCING 

FIFTH  EXERCISE 
A  large  Degage.  Hold  the  bar  with  both  hands, 
standing  with  the  feet  very  far  apart.  Transfer 
the  weight  to  R  foot,  bending  the  supporting  knee 
as  much  as  possible,  while  keeping  the  L  knee 
straight,  and  both  feet  flat  on  the  floor  (4  cts)  ; 
rise,  straightening  this  knee,  then  transfer  the 
weight  to  L  foot,  bending  the  L  knee  (4  cts). 
Continue  this  large  swaying  from  one  foot  to  the 
other  as  long  as  desired. 

SIXTH  EXERCISE 

Without  music. 

Knee  and  shoulder  together.  The  teacher,  stand- 
ing behind  the  pupil,  may  grasp  her  shoulder  with 
one  hand,  and  the  opposite  knee  with  the  other 
hand,  and  try  to  bring  them  together.  This  exer- 
cise should  not  be  done  until  grands  battements 
backward  have  been  practiced  to  "warm  up." 

SEVENTH  EXERCISE 
Stretching  the  leg  backward.  Stand  sidewise  to 
the  bar,  holding  it  with  L  hand,  lift  the  R  leg 
backward  and  place  it  on  the  bar  behind.  Keep 
the  head  up  and  chest  lifted.  Stand  thus  for  as 
long  as  you  can  endure  it,  then  do  the  exercise 
with  L  foot. 

166 


STRETCHING  AND   TURNING  OUT  THE  LEGS 

EIGHTH  EXERCISE 

Stretching  the  backs  of  the  legs.  Stand  rather 
far  away  from  the  bar,  grasping  it  with  both 
hands,  standing  with  the  feet  close  together,  i.e., 
not  turned  out.  Without  bending  the  knees  or 
lifting  the  heels  sway  forward  until  the  chest  al- 
most rests  against  the  bar.  Rise  again,  and  re- 
peat as  many  times  as  desired. 

NINTH  EXERCISE 

Face  the  bar  holding  it  with  both  hands.  Slide 
R  foot  as  far  back  as  possible,  keeping  the  sole  flat 
on  the  floor  with  foot  directed  forward,  not 
turned.  Hold  this  position  for  a  few  moments, 
then  close  the  foot  to  First  Position  and  do  the 
exercise  with  L  foot. 


167 


BOURRfiE  A  TERRE 

SUR  LES  POINTES 

Pron.  booray  a-tair,  siir  leh  pwaNt. 

Quick  little  steps  on  the  points,  moving  sideward. 

These  steps  are  also  often  executed  moving  for- 
ward or  backward.  The  feet  are  usually  crost 
and  kept  as  close  together  as  possible. 

These  are  the  steps  most  often  used  in  toe 
dancing.  Pavlowa's  Swan  Dance,  for  example, 
contains  almost  nothing  else. 

Aim:  To  bring  dexterity  to  the  feet ;  to  straighten 
the  knees;  to  impart  fine  and  delicate  foot 
movement;  to  teach  combining  slow  arm 
movements  with  quick  foot  movements. 

Music:  Melodious  music  with  runs  in  either  the 
melody  or  accompaniment. 

PREPARATORY  EXERCISE 

At  the  Bar.  Face  the  bar,  holding  it  with  both 
hands.  Standing  on  the  points  in  Fifth  Position 
R  foot  in  front,  do  many  quick  little  steps  in  place 
on  the  points,  keeping  the  feet  in  this  crost  po- 
sition (32  cts).  After  resting  a  moment  repeat 
the  exercise  with  L  foot  in  front. 

168 


BOURR&E  A  TERRE 


FIRST  EXERCISE 
At  the  Bar.  Face  the  bar,  holding  it  with  both 
hands,  standing  in  Fifth  Position,  with  L  foot  in 
front.  Rise  onto  the  points  and  move  sideward 
to  R,  with  a  chain  of  very  short  steps,  keeping  L 
foot  in  front,  and  the  feet  as  close  together  and  as 
much  crost  as  possible,  with  legs  well  turned  out, 
and  let  the  hands  slide  along  the  bar  (8  or  i6  cts). 
Lower  the  heels  to  rest  for  a  moment,  then  repeat, 
moving  to  L,  keeping  R  foot  in  front. 

The  reason  for  having  the  L  foot  in  front  when 
moving  to  R  is  that  this  position  makes  it  easier 
to  keep  the  feet  crost. 

SECOND  EXERCISE 
At  the  Center.  Practice  the  above  exercise  at  the 
center,  using  the  arms  as  follows:  Raise  them 
slowly  to  First  Position,  then  to  Third  Position 
with  R  arm  up,  while  bending  at  the  waist  very 
slightly  to  L,  and  letting  the  eyes  follow  the  move- 
ments of  the  R  arm,  so  that  at  the  end  the  head 
is  bent  to  L  and  back,  with  face  turned  to  look 
diagonally  upward  to  the  R  ( i6  or  32  cts).  When 
repeating  the  exercise  to  L  reverse  the  position  of 
the  arms,  passing  them  thru  First  Position  in 
doing  so. 

THIRD  EXERCISE 
Finishing  on  one  Point.    Do  the  second  exercise 
to  R,  and  at  the  very  last  moment  stand  on  R 

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THE   CHALIF   TEXT   BOOK    OF   DANCING 

point  with  L  foot  lifted  backward  from  the  hip, 
and  the  arms  opened  to  Third  Position  AmpHfied, 
with  palms  down.    Repeat  all  to  L. 

This  exercise  may  also  be  done  moving  to  R  for 
8  cts  or  4  cts  and  the  same  to  L. 

FOURTH  EXERCISE 
In  Two's.  Children  enjoy  this  exercise  very 
much.  One  child  does  the  third  exercise  while  the 
other  walks  behind  her,  with  hands  joined  with 
hers,  the  joined  hands  being  held  high.  They 
then  change  places  and  do  the  exercise  again. 

FIFTH  EXERCISE 

Moving  Backwards.  They  dance  in  two's  again, 
one  child  moving  backwards  on  the  points,  with 
feet  crost  and  bending  backwards  somewhat, 
while  the  other  child  walks  backwards  behind 
her,  with  arms  lifted  to  catch  her  if  she  falls. 
They  then  change  places. 

This  is  an  advanced  and  rather  dangerous  exer- 
cise that  should  not  be  given  too  soon. 

RULES  OF  EXECUTION 

Keep  the  feet  crost  so  that  you  will  look  lady- 
like, graceful  and  dainty.  Doing  these  steps 
in  an  open  position  looks  most  awkward. 

Take  short,  frequent  steps  instead  of  long  slow 
ones.     Crowd  in  just  as  many  steps  as  you 

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BOURR^E  A   TBRRB 


can — the  more  the  better.    Try  to  make  them 
so  small  as  to  be  almost  invisible,  so  that  you 
seem  verily  to  glide  from  one  place  to  an- 
other. 
Think  of  expressing  lightness  and  airiness. 

Keep  both  legs  well  turned  out,  or  you  will  be 
rated  as  a  rank  amateur. 

Keep  the  knees  straight,  or  you  will  look  like  a 
,cripple.  The  action  should  come  from  the 
hip-joints,  tho  it  is  true  that  the  knees  do 
bend  and  straighten  almost  invisibly  to  break 
the  jar  of  the  step.  The  whole  effect,  how- 
ever, should  be  of  straight,  strong  knees. 

Draw  yourself  up  to  be  tall  and  buoyant,  and  so 
help  to  straighten  out  your  knees,  as  well  as 
give  an  impression  of  lightness,  and  add  to 
your  personality  and  effectiveness.  Never 
settle  down — leave  that  to  the  old  ladies. 

Move  your  arms  with  slow  and  easy  grace,  let- 
ting them  swim  thru  the  air.  Hold  them 
slightly  relaxed,  and  move  them  so  slowly 
that  they  seem  to  grow  from  one  position 
to  the  next.  Think  of  beautiful  lines,  and 
try  to  "make  pictures"  with  yourself. 

If  you  find  that  you  have  to  stump  along  with 
bent  knees  and  slow,  halting  steps — each  step 
seeming  to  be  the  last  you  can  take  before 
you  collapse  utterly — discontinue  the  exer- 

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THE   CHALIP   TEXT  BOOK   OF  DANCING 

cise.  Try  it  again  the  following  week,  after 
you  have  done  a  few  thousand  more  petits 
battements. 


FLEXIONS  DE  GENOUX  ALTERNATIFS 
SUR  LES  POINTES 

Pron.  flexy-awN  de  zhnooz  al-tair-na-teef  sur  lay  pwaNt 
Translation :  Lifting  the  feet  alternately 

The  Aim  of  this  exercise  is  to  teach  lifting  the 
feet  in  the  correct  and  beautiful  way  that  is 
needed  in  toe  dancing. 

The  music  is  in  staccato  2/4  time. 

Face  the  bar,  holding  it  with  both  hands,  stand- 
ing on  the  points  in  Fifth  Position  with  R  foot 
behind.  While  remaining  on  L  point  lift  R  foot 
close  behind  L  leg,  calf-high,  with  knee  turned 
out,  and  hold  the  position  (cts  1-4),  step  in  place 
on  R  point,  simultaneously  lifting  L  foot  close  in 
front  of  R  leg,  calf-high,  with  knee  turned  out, 
and  hold  the  position  (cts  5-8).  Continue  this 
slow  alternate  lifting  of  the  feet  3  times  more 
with  each  foot,  then  do  the  exercise  twice  as  fast, 
using  2  cts  only  for  each  lifting. 

The  exercise  may  then  be  continued  at  a  faster 
rate,  using  i  ct  only  for  each  lifting,  in  which  case 
the  foot  need  not  be  lifted  as  high. 

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BOURR&E  A  TERRB 


PAS  DE  BOURRfiE  CHANGE  SUR  LES 
POINTES 

Staccato  2/4  time  music 

Face  the  bar,  holding  it  with  both  hands. 
Preparation :  Standing  in  Fifth  Position  with  R 
foot  behind,  make  a  small  demi-plie,  rise  onto 
both  points,  then  lift  R  foot  close  behind  L  foot, 
calf-high  with  knee  turned  out.  Take  3  very 
short  steps  on  the  points  thus :  step  R  foot  across 
behind  L  foot  (ct  i),  step  L  foot  to  L  (ct  and), 
step  R  foot  across  in  front  of  L  foot,  simultane- 
ously lifting  L  foot  close  behind  R  foot,  calf-high 
(ct  2).  On  ct  2  bend  at  the  waist  to  R.  Repeat 
starting  L  foot  and  continue  starting  R  and  L 
feet  alternately  as  long  as  desirable. 


173 


RELEVES  SUR  LA  POINTE 

Pron.  re-le-vay.    Trans  :  Raisings 
Rising  onto  one  point 

This  is  an  advanced  exercise  that  should  not  be 
given  until  the  feet  have  become  very  strong. 

Releves  may  first  be  practiced  in  combination 
with  Echappes  to  avoid  repeated  risings  onto  one 
point.  They  should  be  done  at  the  bar  first  for 
ease  and  correctness. 

The  Aim  and  Music  are  the  same  as  for 
Echappes. 

TWO  fiCHAPPfiS  ET  RELEVE 
At  the  Bar 

Face  the  bar,  placing  both  hands  on  it.  Stand 
in  Fifth  Position  with  R  foot  in  front.  Demi-plie 
and  rise  onto  both  points  (ct  i),  lower  the  heels 
in  the  same  position  (ct  2),  repeat,  interchanging 
the  position  of  the  feet  (ct  3,  4),  rise  onto  L 
point,  and  simultaneously  lift  R  foot  close  behind 
L  foot,  calf-high,  with  knee  well  turned  out  side- 
ward (ct  5),  hold  (ct  6,  7),  lower  both  heels  to 
Fifth   Position,   R  foot  being  in   front    (ct  8). 

Repeat,  lifting  L  foot  and  continue  lifting  R 
and  L  feet  alternately. 

Note  that  when  seemingly  rising  onto  one  point, 

174 


i^ 


^ 


RELBV&S  SUR  LA  POINTS 


one  really  rises  onto  both,  but  one  of  them  is  lifted 
so  soon  afterwards  that  the  rising  onto  it  is  not 
apparent.  One  can  feel,  however,  that  it  is  easier 
than  really  rising  onto  one  point. 

Whenever  R  foot  is  lifted,  bend  sideward  to  R 
and  a  little  backward,  and  bend  to  L  when  L  foot 
is  lifted.  Bending  thus  at  the  bar  will  help  to 
form  the  desirable  habit  of  bending  the  body 
when  dancing  on  the  toes. 

ECHAPPfiS  ET  RELEVfiS  ALTERNATIFS 

At  the  bar 
Face  the  bar,  holding  it  with  both  hands,  the 
feet  being  in  Fifth  Position  with  R  foot  behind. 
Bend  the  knees  slightly,  then  rise  onto  both  points, 
separating  the  feet  sideward  a  Httle  way  (ct  i), 
lower  the  heels  with  the  position  of  the  feet  in- 
terchanged (ct  2),  rise  onto  R  point,  bending  L 
foot  close  behind  R  ankle  with  knee  turned  out 
(ct  3),  lower  the  heel,  finishing  in  Fifth  Position 
with  L  foot  behind  (ct  4).  Repeat  all,  this  time 
lifting  R  foot  behind  L  ankle  (cts  5-8).  Do  the 
entire  exercise  8  times  or  more. 

RELEVES  SUR  LA  POINTS  ALTERNATIFS 

At  the  bar  or  center 
Face  the  bar,  holding  it  with  both  hands,  and 
stand  in  First  Position  with  the  feet  well  turned 
out.     Bend  the  knees  slightly  (prep,  m'v't),  rise 

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THE   CHALIP   TEXT  BOOK  OF  DANCING 

onto  both  points  but  immediately  afterward  bend 
L  foot  behind  R  ankle  and  close  to  it  (ct  i ),  lower 
the  heels  to  First  Position  (ct  2),  repeat  bending 
R  foot  behind  L  ankle  (cts  3,  4),  and  repeat  all  as 
long  as  desired.  This  exercise  looks  like  a  rising 
onto  one  point,  for  the  help  that  the  other  foot 
gives  is  concealed. 

RELEVfiS  FROM  FIFTH  POSITION 

Stand  in  Fifth  Position  with  R  foot  in  front. 
Rise  onto  both  points,  immediately  afterward  lift- 
ing L  foot  behind  R  ankle  (ct  i),  lower  the  heels 
to  their  former  position  (ct  2),  repeat,  bending  R 
foot  in  front  of  L  ankle  (cts  3,  4),  and  continue 
repeating  all  as  long  as  desired,  without  changing 
the  relative  position  of  the  feet. 

The  exercise  may  be  practiced  with  L  foot  in 
front  always. 

RELEVfiS  SUR  LA  POINTE  AU  QUATRIEM 
ARRIERE  EN  L'AIR 

At  the  bar  or  center 
Face  the  bar,  holding  it  with  both  hands,  make 
a  small  bend  with  both  knees,  and  rise  on  R  toe, 
lifting  L  foot  high  backward  with  knee  straight. 
Keep  L  foot  thus  while  rising  4  or  8  times  onto 
R  point  ( 16  or  32  cts) ,  and  close  to  Fifth  Position 
in  the  rear.    After  doing  an  echappe  change  re- 

176 


RELEV&S  SUR  LA  POINTS 


peat  with  L  foot.  Try  to  maintain  a  good  car- 
riage of  the  body,  with  chest  lifted. 

At  the  center  this  exercise  is  practiced  moving 
diagonally  backward  little  by  little,  the  body  being 
inclined  forward  with  R  arm  extended  forward. 


177 


TOURS  SUR  LES  POINTES 

Pron.  toor  siir  lay  pwaNt 
A  turn  on  both  paints 

It  is  considered  an  easy  turning  because,  being 
on  both  points,  it  requires  less  balance  and  less 
strength. 

Aim:  To  bring  quickness,  smoothness  and  free- 
dom in  turning;  to  bring  dexterity  and  con- 
trol to  dancing  in  general ;  to  cure  a  tendency 
to  dizziness;  to  impart  lightness. 

Music:  Waltz,  for  slow  turning,  or  2/4  or  6/8 
tarantella  time  for  quicker  turning. 

FIRST  EXERCISE 
Pausing  after  each  turn.  Preparation :  Stand  in 
Third  or  Fifth  Position  with  R  foot  in  front. 
Make  an  outward  demi-rond  de  jambe  with  R 
foot  (preparatory  movement),  make  a  gentle  leap 
to  R  on  the  ball  of  R  foot,  immediately  afterward 
step  on  the  fall  of  L  foot  across  over  R  foot  and 
very  close  to  it,  then  instantly  afterward  rise  onto 
both  points  (ct  i),  turn  on  the  points  completely 
around  to  R  (cts  2,  3),  lower  both  heels  to  the 
floor  in  Third  or  Fifth  Position  with  R  foot  in 
front  (ct  4),  and  pause  (cts  5,  6),  completing  2 
measures  of  waltz  time. 

178 


TOURS  SUR  LBS  POINTES 


Repeat  i  or  3  times  more  to  R,  starting  R  foot, 
then,  after  a  pause  in  the  music,  in  which  the  R 
foot  is  brought  behind,  the  turning  is  repeated  an 
equal  number  of  times  to  the  L,  each  turn  starting 
with  a  demi-rond  de  jambe  with  L  foot. 

Note  that  in  dancing,  this  flat-footed  finish  of 
the  turn  would  not  be  used  unless  there  were  only 
one  turn.  In  a  succession  of  turns  the  dancer 
would  finish  on  one  point,  as  will  be  described 
next. 

SECOND  EXERCISE 

Turning  without  pausing.  Starting  with  R  foot 
to  R,  make  the  turnings  on  both  points  as  in  the 
previous  exercise  (cts  i,  2),  but  finish  on  L  point 
with  R  foot  bent  close  in  front  of  L  ankle  on  ct  3 
if  waltz  time  is  used,  or  on  2  for  2/4  time.  There 
are  no  pauses  between  turns  here.  Just  before 
starting  the  next  turn  to  R,  lower  L  heel  incon- 
spicuously, to  get  a  better  impetus  for  the  next 
turn,  and  at  the  same  time  make  the  demi-rond 
de  jambe  for  the  next  turn.  Make  4  or  8  of  these 
turns  to  R,  using  4  or  8  measures  of  music,  then 
after  changing  the  weight  to  R  foot,  make  an 
equal  number  of  turns  to  L,  starting  L  foot. 

Another  form  of  this  exercise  is  making  3  or  7 
turns  to  R,  then  stepping  to  R  and  pointing  L  foot 
forward. 

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THE   CHALIF  TEXT  BOOK   OF  DANCING 

THIRD  EXERCISE 
Turning  with  vibrations.  This  is  like  the  second 
exercise  except  for  taking  many  quick  little  steps 
on  the  points  while  turning,  the  steps  being  so 
small  as  to  be  almost  invisible.  These  steps  may- 
be likened  to  the  quivering  vibrations  made  by  a 
violinist  on  the  strings  of  his  violin.  The  effect 
in  dancing  is  also  a  quivering  that  gives  brilliancy 
and  adds  excitement. 

POSITIONS  OF  BODY  AND  ARMS 
While  there  are  many  arm  positions  that  are 
correct,  there  is  only  one  posture  for  the  head 
and  trunk.  Before  starting  to  turn  to  R  the  face 
looks  to  R.  On  ct  i,  when  starting  to  turn,  the 
head  and  trunk  are  bent  to  L  and  back,  the  face 
looking  toward  the  audience ;  on  ct  2,  when  finish- 
ing the  turn,  the  body  is  erect  and  the  head  turned 
to  look  forward  or  even  a  little  to  R.  Yet  when 
the  turns  come  in  very  quick  succession  the  trunk 
moves  only  very  slightly,  or  not  at  all,  while  the 
head  is  turned  as  usual. 

The  position  of  arms  depends  upon  how  many 
turns  there  are  and  how  quickly  they  come.  For 
one  turn  only  or  a  succession  of  very  slow  turns, 
Fifth  Position  is  undoubtedly  the  most  beautiful. 
Another  beautiful  position  for  slow  turning  is 
to  have  (on  ct  i)  the  arms  crost  lightly  on  the 
chest,  with  palms  in,  wrists  drooping,   fingers 

180 


TOURS  SUR  LBS  POINTES 


curved  and  lightly  touching  the  chest.  Thus  a 
beautiful  picture  is  presented  to  the  audience.  On 
ct  2  the  arms  open  slowly  to  Second  Position. 

If  the  turning  be  a  little  faster,  but  not  really 
fast,  the  arms  may  open  a  little  way  toward  Sec- 
ond Position  on  ct  i  and  be  crost  in  First  Posi- 
tion on  ct  2.  These  movements  should  be  made 
small. 

If  the  turning  be  very  fast  the  arms  should 
be  as  inconspicuous  as  possible.  If  they  make  too 
large  or  too  many  movements  it  looks  as  if  the 
air  were  filled  with  arms.  We  will  describe  first 
the  most  beautiful  way  to  use  them,  in  which  they 
are  inconspicuous  without  being  dead  and  motion- 
less. This  way,  which  is  hard  to  learn  but  easy 
and  natural  to  do  when  learned,  is  as  follows: 
On  ct  I  move  the  arms  to  Lateral  Position  on  the 
R  while  turning  the  head  to  L;  on  ct  2  move  the 
arms  to  Lateral  Position  on  the  L  while  turning 
the  head  to  R.  When  swinging  the  arms  to  R  on 
ct  I  do  it  with  vigor,  to  give  an  impetus  for  turn- 
ing, then  move  them  very  gently  to  L  on  finishing 
the  turn. 

RULES  OF  EXECUTION 
Move  in  a  straight  line. 
Do  not  omit  the  demi-rond  de  jambe. 
Do  not  make  a  step  instead  of  a  leap  at  the  first. 

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THE   CHALIF   TEXT   BOOK   OF   DANCING 

When  taking  the  first  step  (the  leap)  turn  the  toe 
directly  sideward  to  insure  making  a  com- 
plete turn  afterwards. 

Have  the  feet  very  close  together  and  the  knees 
straight  when  turning. 

Finish  a  turn  with  the  free  foot  actually  touching 
the  other  ankle,  the  toes  stretched  down,  and 
the  knee  turned  outward,  thus  giving  an  im- 
pression of  neatness  and  accuracy. 

Do  not  omit  the  bending  of  the  head  and  trunk. 


182 


PIROUETTES  SUR  LE  COU  DE  PIED 

Sur  les  pointes 

Turning  on  the  L  point,  while  moving  and 
turning  to  R 

The  turns  are  usually  done  in  a  circle  or  a 
diagonal  line. 

After  a  class  is  sufficiently  far  advanced  to  do 
the  turns  easily  they  may  practice  them,  one  pupil 
at  a  time,  to  make  the  lesson  interesting  with  the 
excitement  of  rivalry. 

Aim:  To  bring  dexterity  to  the  entire  body  by 
learning  to  move  it  quickly;  to  improve  the 
balance  by  thus  learning  to  control  the 
weight  of  the  body ;  and  to  overcome  a  tend- 
ency to  dizziness. 

PREPARATORY  EXERCISE 
4/4  time  or  a  gavotte 

This  is  practiced  with  the  class  standing  in 
lines  facing  forward,  as  usual.  The  turning  is 
here  made  easier  by  having  steps  in  between  each 
turn  to  avoid  dizziness. 

Step  R  foot  to  R  (ct  i),  draw  L  toe  along  the 
floor  toward  R  foot,  then  step  on  L  foot  across 
in  front  of  R  foot  (ct  2)  make  a  small  outward 
demi-rond  de  jambe  with  R  foot  (prep,  m'v't), 

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THE   CHALIF   TEXT   BOOK   OF  DANCING 

make  a  gentle  leap  on  R  foot  to  R,  and  immediate- 
ly step  on  the  ball  of  L  foot  across  in  front  of 
R  foot  and  close  to  it  (ct  3),  rise  onto  L  point, 
turning  completely  around  to  R,  while  bending  R 
foot  close  in  front  of  L  ankle  (ct  4).  During  cts 
I,  2  the  arms  are  in  Second  Position,  the  trunk 
bending  to  L,  the  face  looking  down  at  the  L  toe ; 
during  cts  3,  4  the  arms  go  to  Fifth  Position. 

Repeat  4  or  8  times  in  all  to  R,  finishing  the 
last  pirouette  with  both  feet  flat  on  the  floor  in 
Fifth  Position,  R  foot  in  front.  Repeat  all  to  L 
and  R  alternately. 

DETAILS 

The  secret  of  turning  quickly  and  easily  is  to 
rise  onto  both  points  as  if  doing  echappe,  but  lift 
the  R  foot  so  quickly  afterwards  that  the  appear- 
ance is  of  rising  onto  one  point,  yet  one  has  the 
strength  of  rising  on  both.  As  the  R  foot  is  lifted 
from  the  floor  it  gives  a  push  that  helps  give  the 
impetus  for  turning.  Of  course  the  knee  of  the 
lifted  foot  should  be  well  turned  out. 

When  starting  to  turn,  the  head  and  trunk  re- 
main bent  to  L  somewhat,  the  face  being  turned 
to  look  over  L  shoulder  toward  the  audience. 

THE  EXERCISE 

Begin  at  once  with  the  turning  of  the  prepara- 
tory exercise  without  any  steps  in  between,  i.e., 

184 


PIROUETTES  SUR  LE  COU  DE  PIED 

using  2  cts  for  each  turn,  and  making  7  turns  to 
R  (14  cts),  and  finishing  with  an  assemble  to 
prepare  to  change  the  impetus  to  the  L,  thus: 
make  a  Httle  leap  on  R  foot  to  R,  landing  with  the 
feet  in  Fifth  Position,  L  foot  in  front  (ct  15),  rest 
(ct  16).  For  simplicity's  sake,  omit  the  assemble 
and  instead  step  R  foot  to  R  and  point  L  foot  for- 
ward. The  arms  are  opened  toward  Second  Po- 
sition on  each  ct  i  and  crost  in  First  Position  on 
ct  2,  or  used  in  some  other  way  described  under 
''Tours  sur  les  Pointes." 

There  will  not  be  time  to  bend  the  body  when 
these  turns  are  done  fast,  but  the  head  at  least 
should  be  full  of  action  in  turning. 

RULES  OF  EXECUTION 

Adhere  strictly  to  your  lines  of  direction. 

Be  sure  to  begin  each  turn  with  a  demi-rond  de 
jambe. 

Start  each  turn  with  a  leap  instead  of  a  step,  to 
give  lightness  and  brilliancy. 

Finish  each  turn  with  the  free  foot  placed  neatly 
against  the  front  of  the  ankle.  The  next 
demi-rond  de  jambe  will  look  very  pretty 
when  started  from  this  ankle  position. 


185 


PIROUETTES  SUR  LE  COU  DE  PIED 

Sur  les  pointes 

Turning  on  R  point  when  moving  and 
turning  to  R 
These  are  sometimes  called  ankle  turns,  be- 
cause each  foot  in  turn  is  placed  against  the  other 
ankle.    The  Aim  is  the  same  as  that  for  the  pre- 
vious turning. 

THE  EXERCISE 
2/4  or  6/8  tarantella  time 

Make  a  small  demi-plie  on  L  foot  and  a  small 
outward  demi-rond  de  jambe  with  R  foot,  then 
step  to  R  on  R  point,  simultaneously  bending  L 
foot  in  front  of  R  ankle,  and  starting  to  turn  to 
R  (ct  i),  step  on  the  ball  of  L  foot,  completing 
the  turn  and  finishing  with  R  foot  bent  in  front 
of  L  ankle  (ct  2)  repeat  all  6  times  more  (cts  3- 
14),  make  a  little  leap  on  R  foot  to  R,  landing 
with  the  feet  in  Fifth  Position,  L  foot  in  front 
(assemble — ct  15)  ;  rest  (ct  16).  For  the  sake  of 
simplicity,  the  L  foot  is  sometimes  bent  behind 
the  ankle  instead  of  in  front.  The  arms  are  used 
as  in  the  previous  exercise. 

Repeat  to  L,  R,  and  L. 

These  turns  may  be  practiced  by  one  pupil  at 
a  time,  going  in  a  circle  or  in  a  diagonal  line,  mak- 

186 


PIROUETTES  SUR  LB   CPU  DB  PIED 

ing  1 6  turns,  or  each  one  doing  as  many  as  she 
can. 

DETAILS 

In  this  turn  the  weight  is  never  on  both  feet,  as 
it  is  for  an  instant  in  the  previous  exercise,  and 
there  is  no  leap  here,  since  the  first  step  is  taken 
on  the  point  itself.  But  there  is  a  preparatory 
rond  de  jambe.  The  free  foot  should  be  kept 
very  close  to  the  supporting  ankle  with  knee 
turned  out  and  foot  stretched  down. 

The  arms  are  used  as  in  the  previous  exercise, 
and  the  rules  of  execution  are  the  same,  with  the 
few  differences  noted  above. 


187 


TOUR  ARABESQUE 

A  pivot  turn  on  the  point,  while  holding  an  arabesque 

The  turn  is  given  here  with  a  glissade  preced- 
ing it,  to  provide  an  impetus  as  w^ell  as  to  make 
a  graceful  phrase  of  dancing  steps. 

The  music  may  be  melodious  4/4  time. 

THE  EXERCISE 

Preparation :  Stand  in  Fifth  Position  with  R 
foot  in  front,  and  lift  the  arms  thru  First  to  Third 
Position.  Step  to  R  on  the  ball  of  R  foot,  and 
immediately  step  L  foot  in  Fifth  Position  in  front, 
lowering  both  heels  to  the  floor  (cts  and,  i),  step 
on  R  point  to  R,  and  turn  slowly  once  or  twice 
around  to  R  on  the  point,  the  L  foot  being  lifted 
backward  from  the  hip  (Fourth  Aerial  Position) 
(cts  2,  3),  bring  L  foot  down  to  Fifth  Position 
behind,  lowering  both  heels  to  the  floor  (ct  4). 
If  the  student  can  keep  on  turning  on  ct  4,  the 
foot  need  not  be  lowered  at  all.  Just  before  start- 
ing to  turn,  bring  the  arms  to  First  Position,  in- 
conspicuously, then  open  them  to  Third  Position 
again  with  the  thought  that  the  opening  of  the  R 
arm  helps  to  turn  the  body.  Finish  with  arms  in 
Second  Position. 

Repeat  all  to  L,  starting  L  foot  and  alternate  R 
and  L  feet  as  long  as  desired. 

188 


TOUR  ARABESQUE 


RULES  OF  EXECUTION 

Try  to  turn  as  slowly  as  you  can,  i.e.,  take  only  a 
little  impetus,  and  you  will  not  be  so  apt  to 
lose  your  balance. 

To  help  keep  the  balance,  think  that  the  shoulders 
turn  the  body. 

A  lifted  chest  will  also  help. 

Since  the  beauty  of  the  exercise  is  in  the  ara- 
besque itself,  try  to  take  the  position  per- 
fectly. There  should  be  a  curving  line  made 
by  the  head,  trunk,  and  backward  lifted  leg, 
and  another  by  the  two  arms.  The  head  and 
trunk  should  be  bent  to  L  as  well  as  backward 
when  turning  to  R.  Beware  of  throwing  the 
lifted  arm  too  far  back,  and  so  spoiling  the 
picture.  Also  beware  of  bending  the  arms 
too  much.  They  should  make  curves — not 
angles. 

Do  not  lean  forward  with  head  down. 

Be  sure  to  lift  the  leg  backward  from  the  hip — 
not  from  the  knee.  The  knee  should  bend 
only  a  little  or  not  at  all. 


189 


EXERCISES  PLASTIQUES 

At   the  Center 

PETITS  BATTEMENTS  WITH  SIDEWARD 
BENDING 

Slow  waltz  time 

Aim:    This  exercise  is  fiot  only  for  plasticity  but 
strengthens  the  legs  as  well. 

Preparation:  Stand  in  Fifth  Position  with  R 
foot  behind,  turned  out,  and  raise  the  arms  thru 
First  to  Second  Position.  Slide  R  foot  to  side, 
keeping  the  toes  firmly  on  the  floor,  bend  at  the 
waist  to  R  as  far  as  possible  and  then  still  farther, 
to  get  a  long  stretch  along  the  L  side  of  the  body 
(ct  I,  2,  3)  ;  bring  R  foot  up  to  L  foot  in  Fifth 
Position  in  front  and  resume  an  erect  position  of 
the  body  (ct  4,  5,  6).  During  cts  i,  2,  3  the  arms 
go  to  Fourth  Position  with  L  arm  up  and  the 
face  is  turned  to  R  to  look  over  the  R  shoulder 
at  the  pointed  toe;  during  cts  4,  5,  6  the  arms 
open  to  Second  Position. 

Repeat  with  L  foot  and  continue  alternating 
R  and  L  feet  while  moving  forward  little  by  little. 

Repeat  the  exercise  moving  backward  little  by 
little,  starting  with  L  foot,  since  it  was  in  front 
at  the  end  of  the  forward  progression. 

190 


EXERCISES  PLASTIQUES 


DETAILS 

The  pointings  of  the  feet  must  be  made  with 
firmness  and  force,  the  toes  sliding  outward  as 
if  pushing  something  heavy  along  the  floor.  This 
foot  must  be  returned  to  the  stationary  foot  with 
a  clear-cut,  decisive  movement,  and  afterwards 
there  must  be  no  motion  whatever  of  adjusting 
the  feet  to  a  more  correct  Fifth  Position.  A  mo- 
tionless ending  brings  aplomb,  i.e.,  clearness  and 
sureness.  If  one  should  fail  to  take  the  position 
correctly  with  feet  close  together  it  would  be  bet- 
ter to  remain  in  the  incorrect  position  than  to 
move ;  but  it  would  be  best  of  all  to  take  a  correct 
position  and  hold  it.  Both  knees  should  be  abso- 
lutely straight  thruout  the  exercise,  to  get  the  full 
benefit  of  the  stretching  of  the  legs. 

Altho  the  legs  must  be  kept  energized  and 
strong,  the  upper  part  of  the  body  and  arms  must 
be  most  relaxed,  so  as  to  move  smoothly  and  slow- 
ly and  with  grace.  The  arms  should  be  drawn 
slowly  thru  the  air,  as  if  the  air  were  water  and 
oflfered  resistance. 

DfiGAGER  FORWARD  AND  BACK 

Transferring  the  weight  fonvard  and  hackivard 

Aim:    The  twisting  in  this  exercise  makes  it  par- 
ticularly valuable  for  developing  plasticity. 
Music:    Slow,  melodious  4/4  or  3/4  time. 

191 


THE   CHALIF   TEXT  BOOK  OF  DANCING 

Preparation :  Point  R  foot  in  Fourth  Position 
forward,  lift  the  arms  thru  First  to  Third  Posi- 
tion with  R  arm  up,  bend  at  the  waist  to  R  and 
back,  and  turn  the  shoulders  so  far  to  L  that  the 
face  looks  toward  the  audience  over  R  shoulder. 

Bend  both  knees  considerably,  being  sure  to 
turn  them  out,  and  have  both  feet  placed  flat  on 
the  floor ;  gradually  transfer  the  weight  forward 
onto  R  foot,  straightening  both  knees  and  leav- 
ing L  foot  pointed  backward  (4  or  8  cts,  accord- 
ing to  the  music  used).  Repeat  the  bending  of 
the  knees  and  transfer  the  weight  back  onto  L 
foot,  leaving  R  foot  pointed  forward  (4  or  8  cts). 
During  the  transfer  forward  the  arms  go  thru 
First  Position  to  Third  with  L  arm  up  and  the 
trunk  and  head  bend  rather  far  to  L  as  well  as 
somewhat  backward.  When  transferring  the 
weight  backward  move  the  arms  thru  First  Posi- 
tion and  return  to  the  preparatory  position  for 
this  exercise. 

Continue  repeating  all  as  long  as  desired,  then, 
while  the  music  pauses,  reverse  the  position  of  the 
feet,  and  repeat  the  exercise  with  L  foot  forward 
and  R  foot  back. 

PAS  DE  BOURRfiE  CHANGfi  WITH  BENDING 
Waltz  time 

Stand  with  R  foot  in  Fifth  Position  in  front 
and  arms  in  Second  Position,  then  lift  R  foot 

192 


EXERCISES  PLASTIQUES 


sideward  (prep,  m'v't),  step  R  foot  across  behind 
(ct  i),  step  L  foot  to  L  (ct  2),  step  R  foot  across 
in  front  (ct  3),  point  L  foot  to  L  (ct4),  hold  (cts 
5,  6),  and  point  L  foot  across  behind  R  foot  and 
hold  (cts  7-12).  During  ct  i,  2,  3  the  arms  go 
thru  First  to  Second  Position;  during  ct  4,  5,  6 
they  remain  in  Second  Position,  while  the  trunk 
bends  so  far  to  L  and  forward  as  to  bring  the  L 
hand  near  to  the  L  foot;  during  cts  7-12  the  arms 
go  thru  Fifth  and  to  Second  Position,  while  the 
trunk  is  raised,  then  twisted  and  bent  to  R,  and 
backward. 

Repeat  all,  starting  lift  L  foot  sideward,  and 
continue  starting  R  and  L  feet  alternately. 

WALKING  FORWARD,  THEN   BACKWARD 

with  arm  movements 
Waltz  time 

Stand  with  R  foot  in  Fifth  Position  behind  and 
arms  in  Second  Position. 

Slide  R  foot  to  side,  then  slide  it  thru  First 
Position  and  forward  (preparatory  movements), 
step  forward  on  R  foot  (ct  i),  remain  on  R  foot 
with  L  foot  pointed  backward  (knee  straight  and 
foot  arched),  while  moving  the  arms  thru  First 
to  Third  Position  with  L  arm  up,  and  bending  the 
head  and  trunk  to  R  (cts  2-6). 

X  193 


THE   CHALIF   TEXT   BOOK   OF   DANCING 

Repeat  with  L  foot,  making  the  preparatory 
movements  of  sHding-  L  foot  thru  First  to  Second 
and  Thru  First  to  Fourth  in  front  (all  these 
movements  being  done  in  quick  succession),  then 
stepping  forward  on  L  foot  on  ct  i . 

Continue  alternating  R  and  L  feet,  while  mov- 
ing forward,  for  8  times  in  all. 

Moving  backward.  Step  back  on  R  foot  (ct  i), 
remain  on  R  foot  with  L  foot  pointed  forward, 
while  bringing  the  arms  thru  First  to  Third  Po- 
sition with  R  arm  up,  and  inclining  the  body  to  L 
and  a  little  backward,  so  as  to  make  a  continuous 
slanting  line  of  the  trunk  and  forward  pointed 
foot,  and  lifting  the  chest  to  give  majesty  to  the 
pose. 

Repeat  with  L  foot,  starting  by  sliding  L  foot 
thru  First  to  Second  Position,  and  to  First  and  to 
Fourth  Position  behind,  then  stepping  backward 
on  ct  I. 

When  stepping  either  forward  or  backward  be 
sure  that  the  toe  of  the  working  foot  is  turned 
out. 

BENDING  BACKWARD  AND  FORWARD 

Slow  4/4  time  music 

Preparation :  Stand  on  L  foot,  facing  forward 
with  R  foot  pointed  forward.  Bend  far  back- 
ward, lifting  the  arms  thru  First  to  Fifth  and  to 
Second  Position  (cts  1-6),  sway  forward  onto  R 

194 


EXERCISES  PLASTIQUES 


foot,  bending  R  knee  considerably,  leaning  for- 
ward so  that  the  body  continues  the  slanting  of 
the  L  leg,  and  extend  the  L  arm  forward  and  R 
arm  back,  both  palms  down  (cts  7,  8).  Repeat  4 
times  in  all,  then  do  the  exercise  with  L  foot  in 
front.  Note  that  the  backward  bending  is  slow 
and  the  forward  bending  faster. 

RONDS  DE  JAMBE  PLIES 

with  arm  movements 

Slow  waltz  time  music 

This  exercise  is  most  valuable  for  improving 
the  balance. 

Preparation  (see  page  1 10)  :  Lift  the  arms  thru 
First  to  Second  Position.  Slide  R  foot  forward, 
then  in  a  circular  path  far  backward  while  bend- 
ing the  L  supporting  knee,  and  extending  R  arm 
forward  and  L  arm  backward,  both  at  shoulder 
level  (2  meas.)  ;  while  keeping  L  knee  bent  and 
R  foot  extended  far  backward  with  knee  straight, 
raise  the  arms  thru  First  to  Fifth  Position,  then 
lower  them  to  Second  Position,  while  bending  the 
trunk  somewhat  backward,  then  far  to  R  (3rd 
and  4th  meas.).  On  the  last  ct  of  the  music  rise, 
bringing  R  foot  up  to  L  foot  in  Fifth  Position 
behind. 

Repeat,  starting  by  transferring  the  weight 
back  onto  R  foot,  then  sliding  L  foot  backward 
in  a  circular  path.     Continue  alternating  R  and 

195 


THE   CHAUF   TEXT  BOOK   OF  DANCING 

L  feet,  while  gradually  moving  backward.    This 
exercise  is  not  done  moving  forward. 

VARIATION 
Melodious  4/4  time  music 

Starting  with  R  foot  in  Fifth  Position  in  front, 
make  a  preparatory  outward  sliding  to  side,  then 
describe  3  quick  ronds  de  jambe  forward  (cts  i,  2, 
3),  then  bend  the  L  supporting  knee  while  describ- 
ing a  circle  backward  with  R  foot  (ct  4).  While 
keeping  L  knee  bent  and  R  foot  stretched  back, 
go  thru  the  arm  and  body  movements  of  the  pre- 
vious exercise. 


196 


COMBINATIONS  OF  EXERCISES 

The  remainder  of  this  book  will  consist  of  a 
few  combinations  of  the  exercises  described  in 
this  volume.  We  do  not  pretend  to  give  them  all, 
since  they  are  almost  infinite  in  number.  The 
ingenious  teacher  can  invent  many  more  for 
himself. 

Most  of  these  exercises  should  be  done  first  at 
the  bar  and  afterwards  at  the  center  as  described, 
or  alternating  the  feet  while  moving  forward, 
then  backward,  when  at  the  center. 

COMBINATIONS  CONTAINING  PLIER 
AND  DEMI-PLIER 

Melodious  2/4  or  4/4  time  music 
DEMI-PLl£  ET  PETIT  BATTEMENT 

Starting  with  R  foot  in  Fifth  Position  in  front, 
bend  both  knees  as  far  as  possible  without  lifting 
the  heels  (cts  1,2),  rise  (cts  3,  4),  slide  R  foot  to 
side  (cts  5,  6),  return  it  to  Fifth  Position  in  front 
(cts  7,  8) .  Repeat  8  times  in  all  with  R  foot,  then 
8  times  with  L  foot. 

The  exercise  may  be  practiced  closing  behind, 
or  in  front  and  behind  alternately. 

197 


THE    CHALIF   TEXT   BOOK    OF   DANCING 

DEMI-PLIE,  PETIT  BATTEMENT  ET 
3  PETITS  RONDS  DE  JAMBE 
Starting  with  R  foot  in  Fifth  Position  in  front, 
bend  both  knees  as  far  as  possible  without  Hf ting 
the  heels  (4  cts),  straighten  the  knees  while  slid- 
ing R  foot  to  side  (cts  5-8),  after  making  an  extra 
prep,  m'v't  to  side  describe  3  forward  circles  on 
the  floor,  passing  R  foot  thru  First  and  Fifth  Po- 
sitions each  time,  using  2  cts  for  each  circle,  fin- 
ishing in  Fifth  Position  in  front  (cts  1-6),  rest 
(cts  7,  8).  Repeat  all,  circling  backward  and  fin- 
ishing in  Fifth  Position  behind. 

DEMI-PU£  ET  ROND  DE  JAMBE  PU£ 

Starting  with  R  foot  in  Fifth  Position  in  front, 
bend  both  knees  without  lifting  the  heels  from  the 
floor  (cts  I,  2),  rise  (cts  3,  4),  after  making  an 
extra  preparatory  slide  to  side  describe  a  circle 
on  the  floor  from  front  to  back  with  R  foot  while 
bending  L  knee  (cts  5,  6),  close  R  foot  to  Fifth 
Position  behind,  straightening  L  knee  (cts  7,  8). 

Repeat,  circling  from  back  to  front  and  con- 
tinue circling  backward  and  forward  alternately. 

DEMI-PLlfi  ET  POINTE_ 

Starting  with  R  foot  in  Fifth  Position  in  front, 
bend  both  knees  a  little  (preparatory  movement), 
slide  R  foot  to  side,  pushing  the  toes  along  the 
floor  with  great  force,  and  straightening  the  sup- 

198 


PLIER  IN  COMBINATIONS 


porting  knee  (ct  i ),  hold  this  position  of  the  foot, 
keeping  it  strongly  energized  with  knees  straight 
(cts  2-y),  close  R  foot  to  Fifth  Position  behind, 
bending  both  knees  a  little  as  a  preparation  for  the 
next  pointing  (ct  8)  ;  repeat  the  sliding  to  side, 
this  time  closing  in  front,  then  continue  closing 
behind  and  in  front  alternately  as  long  as  desired. 

The  exercise  may  be  practiced  forward  and 
backward,  but  sideward  is  the  most  beneficial. 

At  the  center  alternate  the  feet,  moving  for- 
ward, then  backward. 

DEMI-PLlfi,  POINTE,  ASSEMBLE 
Strongly  accented  2/4  time  music 

Starting  with  R  foot  in  Fifth  Position  in  front, 
bend  both  knees  a  little  (ct  i ),  slide  R  foot  to  side 
while  straightening  both  knees  (ct  2),  close  R 
foot  to  Fifth  Position  behind  (ct  3),  rest  (ct  4), 
repeat  all,  finishing  in  Fifth  Position  in  front. 
Continue  finishing  behind  and  in  front  alternately 
for  16  times  in  all,  then  do  the  exercise  with  L 
foot. 

PLlfiS  ET  PETITS  BATTEMENTS 

Standing  in  First,  Third  or  Fifth  Position,  R 
foot  in  front,  rise  onto  the  points  (8  cts),  then 
bend  the  knees  till  almost  sitting  on  the  heels  (cts 
1-4),  rise  (cts  5,  6,  7),  and  lower  the  heels  (ct  8). 
Do  4  slow  petits  battements  to  side  with  R  foot 

199 


THE   CHALIF   TEXT  BOOK   OF  DANCING 

(using  2  cts  to  extend  and  2  cts  to  close),  return- 
ing to  Fifth  in  front  each  time,  to  give  a  good  idea 
of  turning  out  the  foot,  or  closing  behind  and  in 
front  alternately  (16  cts).  Repeat  all,  then  do 
the  exercise  with  L  foot. 

PLIER  ET  GRAND  BATTEMENT 

Starting  with  R  foot  in  Fifth  Position  in  front, 
rise  onto  the  points,  bend  the  knees  (4  cts),  rise, 
then  lower  the  heels  (cts  5-8),  and  do  4  grands 
battements  forward  with  R  foot  (cts  9-16).  Re- 
peat all,  doing  the  grands  battements  backward, 
and  repeat  once  more,  doing  them  sideward. 

Do  the  exercise  with  L  foot. 


200 


COMBINATIONS  CONTAINING  PETITS 
RONDS  DE  JAMBE 

2/4  or  4/4  time  music 
THE  PREPARATION 

for  all  exercises  in  this  group  that  begin  with  petit 
rond  de  jambe  is  as  follows: 

Stand  with  R  foot  in  Fifth  Position  in  front. 
Before  the  music  begins  make  a  demi-plie,  then 
straighten  out  the  knees  while  pointing  R  foot 
to  side. 

Begin  each  repetition  of  the  exercise  by  making 
a  preparatory  slide  to  R  with  R  foot,  but  omitting 
the  preparatory  bending. 

The  preparation  for  all  exercises  beginning 
petit  battement  is :  Starting  with  R  foot  in  Fifth 
Position  in  front,  make  a  small  demi-plie,  then 
straighten  both  knees  while  sliding  R  foot  to  side 
on  ct  I.  When  repeating  the  exercise  omit  the 
demi-plie. 

PETIT  ROND  DE  JAMBE  ET  PETIT 

BATTEMENT 

with  the  working  knee  bent 

Preparation  (see  above)  :  Describe  a  circle 
forward,  finishing  in  Fifth  Position  in  front  (ct 
I,  2),  slide  R  foot  to  side,  bending  the  knee  to 
bring  the  foot  to  a  perpendicular  position  (ct  3), 

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THE   CHALIP   TEXT  BOOK   OF  DANCING 

and  close  the  foot  in  front  (ct  4).    Repeat  as  long 
as  desired  with  R  foot,  then  with  L  foot. 

The  exercise  should  then  be  practiced  back- 
ward, starting  from  Fifth  Position  behind. 

PETIT  ROND  DE  JAMBE  ET  POINTE 

Preparation  (see  page  201):  Slide  forward, 
around  to  side,  backward,  and  close  in  Fifth  Posi- 
tion behind — a  large  rond  de  jambe  on  the  floor 
(cts  1-4) ,  point  R  foot  to  R  with  knee  bent  slightly 
at  first,  then  straightened  out  so  as  to  elevate  and 
stretch  the  arch  (ct  5,  6),  close  R  foot  to  Fifth 
Position  behind  (ct  7),  and  rest  (ct  8). 

Repeat;  starting,  slide  R  foot  backward. 

Continue  circling  backward  and  forward  alter- 
nately as  long  as  desired,  then  do  the  exercise 
with  L  foot. 

PETIT  BATTEMENT  ET  PETIT  ROND 
DE  JAMBE 

Preparation  (see  page  201) :  Slide  R  foot  to 
side  (ct  i),  return  it  to  original  position  in  front 
(ct  2),  after  making  a  quick  slide  to  side  with 
R  foot  (prep,  m'v't — ct  and)  do  a  petit  rond  de 
jambe  forward,  finishing  in  Fifth  Position  be- 
hind (ct  3,  4). 

Repeat,  doing  the  petit  battement  as  before  but 
circling  backward,  finishing  with  the  foot  in 
front. 

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PET  ITS  RONDS  DB  J  AM  BE  IN  COMBINATIONS 

Continue  circling  forward  and  backward  alter- 
nately. 

2  PETITS  BATTEMENTS  ET  2  PETITS  RONDS 
DE  JAMBE 

Preparation  (see  page  201)  :  Do  i  petit  batte- 
ment  to  side,  closing  in  front  (cts  i,  2),  i  petit 
battement  forward,  closing  in  front  (cts  3,  4), 
I  petit  rond  de  jambe,  starting  forward  and  clos- 
ing behind  (cts  5,  6),  repeat  petit  rond  de  jambe 
closing  in  front  (cts  7,  8).  Repeat  all  as  long  as 
desirable. 

4  PETITS  BATTEMENTS  AND  4  PETITS 
RONDS  DE  JAMBE 

Starting  with  R  foot  in  Fifth  Position  in  front, 
do  a  petit  battement  to  side,  closing  in  front  (cts  i, 
2),  petit  battement  forward,  closing  in  front  (cts 
3,  4),  petit  battement  to  side,  closing  behind  (cts 
5,  6),  petit  battement  backward  closing  behind 
(cts  7,  8),  slide  to  side  (prep,  m'v't,  ct  and),  i 
forward  petit  rond  de  jambe  closing  in  front 
(cts  9,  10),  slide  to  side  (prep,  m'v't,  ct  and),  i 
backward  petit  rond  de  jambe,  closing  behind  (cts 
II,  12),  and  repeat  the  last  4  cts  (cts  13-16). 

1  PETIT  BATTEMENT  ET  3  PETITS 
RONDS  DE  JAMBE 

Preparation  (see  page  201)  :  Do  i  slow  petit 
battement    to    side,    closing   behind    (cts    1-4), 

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THE   CHALIF   TEXT   BOOK   OF  DANCING 

slide  to  side  quickly  (prep,  m'v't,  ct  and),  make 
3  backward  petits  ronds  de  jambe,  finishing  be- 
hind (ct  5,  6,  7),  and  pause  (ct  8). 

Repeat  finishing  the  petit  battement  in  front 
and  making  the  rond  de  jambes  forward,  finish- 
ing in  front.  Continue  circling  forward  and  back- 
ward alternately. 

PETIT  BATTEMENT  RELEVfi  ET  3  PETITS 
RONDS  DE  JAMBE 

Starting  with  R  foot  in  front  in  Fifth  Position 
make  a  demi-plie  (preparation — ct  and),  slide  R 
foot  to  side  straightening  both  knees  (ct  i ),  lower 
R  heel  to  the  floor  (ct  2),  raise  the  heel  (ct  3), 
close  the  foot  to  Fifth  Position  in  front  (ct  4), 
after  making  a  preparatory  slide  to  side  describe 
3  forward  circles  on  the  floor,  finishing  in  Fifth 
Position  in  front  (ct  5,  6,  7),  rest  (ct  8).  Re- 
peat all,  but  circling  backward  and  finishing  in 
Fifth  Position  behind. 

Repeat  all  8  times  with  R  foot,  then  with  L 
foot. 

PETIT  ROND  DE  JAMBE  AND  3  QUICK 
PETITS  BATTEMENTS 

Preparation  (see  page  201)  :  Make  a  large  cir- 
cle to  Fifth  Position  behind,  keeping  the  toes  on 
the  floor  (ct  and  i,  2,  3),  rest  (ct  4),  make  the 
extra  preparatory  movement  of  sliding  R  foot 

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PETIT  S  RONDS  DB  J  AM  BE  IN  COMBINATIONS 

out  to  the  side  (ct  and),  then  take  3  very  quick 
petits  battements  with  the  accent  inward,  the  first 
time  bringing  the  foot  to  Fifth  Position  behind, 
the  second  time  in  front,  and  the  third  time  be- 
hind (ct  and  5,  6,  7),  rest  (ct  8). 

Repeat,  starting  the  circHng  backward  and  fin- 
ishing it  in  front. 

Repeat  all  as  many  times  as  desired  with  R 
foot,  then  do  the  exercise  with  L  foot. 

ROND  DE  JAMBE  PLifi  ET  PETIT  BATTEMENT 

Preparation  (see  page  201 )  :  Slide  R  foot  for- 
ward to  Fourth  Position,  then  describe  an  arc 
backward  to  Fourth  Position  (cts  1,2),  and  close 
in  Fifth  Position  behind  (ct  3),  meanwhile  keep- 
ing the  toes  always  on  the  floor,  and  bending  the 
supporting  knee  during  cts  1,2  and  straightening 
it  on  ct  3,  pause  (ct  4).  Slide  R  foot  to  side  (ct 
5,  6),  and  close  R  foot  to  Fifth  Position  in  front 
(ct  7,  8).  Repeat  with  R  foot  as  long  as  desired, 
then  with  L  foot. 

At  the  Center  alternate  the  feet,  moving  for- 
ward, then  backward. 

DEMI-PLlfi.  POINTE,  ET  3  PETITS  RONDS 
DE  JAMBE 

Starting  with  R  foot  in  Fifth  Position  in  front, 
bend  both  knees  a  little  (preparatory  movement), 
slide  R  foot  to  side  with  energy,  straightening 

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THE   CHALIF   TEXT  BOOK   OF  DANCING 

both  knees  (ct  i),  hold  this  sideward  pointing 
(ct  2,  3,  4),  describe  3  forward  circles  on  the  floor 
with  R  foot,  passing  thru  First  Position  with 
each,  and  finishing  in  Fifth  Position  in  front  (ct 
5,  6,  7),  bend  both  knees  a  little,  as  a  preparatory 
movement  (ct  8) .  Repeat  all,  but  making  the  cir- 
cles backward  and  finishing  behind. 

Continue  doing  the  exercise  forward  and  back- 
ward alternately  as  long  as  desired. 

DEMI-PLlfi,  POINTE,  ET  PETIT.  ROND  DE 
JAMBE  PLlfi 

At  the  center 

Starting  from  Fifth  Position  with  R  foot  be- 
hind, bend  both  knees  a  little  (preparation),  slide 
R  foot  to  side,  straightening  its  knee  and 
straightening  the  supporting  knee  also  (ct  i), 
hold  (cts  2,  3,  4),  slowly  describe  a  forward  circle 
with  R  foot,  while  bending  the  supporting  knee, 
and  finish  with  R  foot  in  Fifth  Position  in  front, 
both  knees  straight  (cts  5-8). 

Repeat  with  L  foot  and  continue  alternating 
R  and  L  feet,  while  moving  forward  little  by 
little ;  then  do  the  exercise  moving  backward,  cir- 
cling backward  and  finishing  with  foot  behind 
each  time. 


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COMBINATIONS  CONTAINING 

PETITS  BATTEMENTS  AND  GRANDS 

BATTEMENTS 

2/4  or  4/4  time  music 
THE  PREPARATION 

In  all  exercises  that  begin  with  petit  battement 
or  pointe  the  first  execution  should  begin  with 
a  demi-plie  on  ct  "and,"  the  feet  being  in  Fifth 
Position  with  R  foot  in  front,  then  the  knees 
should  straighten  out  on  ct  i,  simultaneously  with 
beginning  the  exercise. 

2  SLOW  AND  3  FAST  PETITS  BATTEMENTS 

Preparation  (see  above)  :  Slide  R  foot  to  side 
(ct  i),  close  it  in  front  (ct  2),  repeat  all,  closing 
it  behind  (cts  3,  4),  after  making  a  preparatory 
outward  slide  do  3  petits  battements  twice  as  fast, 
with  the  accent  on  the  inward  stroke,  closing  the 
foot  in  front,  behind,  and  in  front  (ct  5,  6,  7), 
and  rest  (ct  8).  Repeat,  starting  from  this  clos- 
ing position  (in  front),  and  repeat  all  as  many 
times  as  desired;  then  do  the  exercise  with  L 
foot. 

Variation:  This  exercise  may  also  be  done 
making  one  very  slow  petit  battement  to  4  cts,  and 
3  fast  ones  (ct  5,  6,  7)  ;  rest  (ct  8). 

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THE   CHALIF   TEXT   BOOK   OF  DANCING 

1  SLOW  AND  3  FAST  PETITS  BATTEMENTS 

Preparation  (see  page  207)  :  Slide  R  foot  to 
side  (ct  I ),  return  it  to  Fifth  Position  in  front  (ct 
2),  after  making  an  extra  preparatory  slide  to 
side  do  3  very  quick  petits  battements  with  the 
accent  inward,  closing  the  foot  behind,  in  front 
and  behind  (cts  and,  3,  and  4) 2  meas. 

Repeat  with  R  foot  as  long  as  desired,  then  do 
the  exercise  with  L  foot. 

POINT  AND  3  QUICK  PETITS  BATTEMENTS 

Preparation  (see  page  207)  :  Slide  R  foot  out 
sideward  with  the  working  knee  bent  so  that  the 
foot  is  placed  perpendicularly  (ct  i),  straighten 
out  the  knee  while  keeping  the  toes  as  they  are 
(cts  2,  3,  4),  do  3  quick  petits  battements  with  the 
accent  on  the  inward  stroke,  closing  the  foot  in 
front,  behind  and  in  front  (cts  5,  6,  7),  rest 
(ct8). 

At  the  Center  alternate  the  feet  by  starting  with 
R  foot  behind  and  closing  in  front,  behind  and  in 
front,  while  moving  forward. 

PETIT  BATTEMENT  AND  GRAND 
BATTEMENT  COMBINED 

Preparation  (see  page  207)  :  Slide  R  foot  to 
side  with  considerable  force  (ct  i),  hold  (ct  2), 
lift  R  foot  high  sideward,  keeping  the  knee 
straight  (ct  3),  and  close  R  foot  in  front  in  Fifth 

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GRANDS  BATTEMENTS  IN  COMBINATIONS 

Position  (ct  4).  Do  the  exercise  8  or  16  times, 
then  repeat  with  L  foot.  The  closing  may  be  in 
front  and  behind  alternately. 

Practice  the  exercise  forward,  then  backward. 
In  Combined  Directions.  The  exercise  may  be 
practiced  sideward  and  forward,  or  sideward  and 
backward,  or  forward,  sideward,  backward,  side- 
ward. 

At  the  Center  the  exercise  may  be  practiced  in 
most  of  the  forms  given  above,  alternating  the 
feet,  while  moving  forward,  then  backward,  little 
by  little. 

PETIT  BATTEMENT  AND  GRAND 
BATTEMENT  ALTERNATELY 

Preparation  (see  page  207)  :  Do  a  Petit  Batte- 
ment  to  side,  returning  the  foot  to  Fifth  Position 
in  front  (cts  i,  2),  do  a  Grand  Battement  to  side, 
returning  to  Fifth  Position  in  front  (cts  3,  4), 
and  repeat  all,  returning  the  foot  to  Fifth  Posi- 
tion behind  each  time  (cts  5-8).  Continue  finish- 
ing behind  and  in  front  alternately  as  long  as  de- 
sired, then  do  the  exercise  with  L  foot. 

The  exercise  is  practiced  forward  and  back, 
and  in  all  the  other  forms  given  in  the  preceding 
exercise. 

FRAPPfi  AND  GRAND  BATTEMENT 

Preparation  (see  page  207) :  Point  R  foot  to 
side  twice,  striking  the  toe  against  the  floor  with 

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THE   CHALIP  TEXT  BOOK   OF  DANCING 

emphasis,  the  knee  being  straight  (cts  1,2),  lift  R 
foot  sideward  waist-high  (Second  Aerial  Posi- 
tion (ct  3),  and  hold  this  extension  (ct  4).  Re- 
peat 8  times  or  more,  then  repeat  with  L  foot. 
forward  and  Backward.  The  exercise  is  prac- 
ticed in  all  directions,  and  in  combined  directions. 

3  PETITS  RONDS  DE  JAMBE  ET  GRAND 
BATTEMENT 

Preparation  (see  page  201 )  :  Make  3  forward 
petits  ronds  de  jambe  with  R  foot,  passing  thru 
First  and  Fifth  Positions  in  front  each  time  (ct 
I,  2,  3),  finishing  on  ct  3  in  Fifth  Position  in 
front;  rest  (ct  4),  lift  R  foot  sideward  (ct  5,  6), 
close  it  to  Fifth  Position  in  the  rear  (ct  7)  and 
rest  (ct  8). 

Repeat  all,  circling  backward,  starting  with  the 
preparatory  sliding  to  side,  as  before,  and  finish- 
ing in  Fifth  Position  in  front. 

Continue  circling  forward  and  back,  alternate- 
ly. Repeat  as  long  as  desired  with  R  foot,  then 
do  the  exercise  with  L  foot. 

To  make  the  exercise  more  beneficial  but  diffi- 
cult, rise  onto  L  point  when  doing  the  grand  batte- 
ment. 

3  PETITS  RONDS  DE  JAMBE,  DEMI-PLlfi, 
GRAND  BATTEMENT 

Preparation  (see  page  201):  Do  3  forward 
petits  ronds  de  jambe  (ct  i,  2,  3),  closing  on  ct  3 

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GRANDS  BATTEMENTS  IN  COMBINATIONS 

in  Fifth  Position  in  front  with  the  knees  slightly 
bent;  lift  R  foot  high  sideward,  straightening 
the  knee,  and  rising  onto  the  ball  of  L  foot  (ct  5), 
hold  (ct  6,  7,  8).  Repeat  8  or  16  times  with  R 
foot,  then  do  the  exercise  with  L  foot. 


211 


COMBINATIONS  CONTAINING 

PETITS  BATTEMENTS  SUR  LE  COU 

DE  PIED 

Staccato  2/4  time  music 

THE  PREPARATION 

for  all  exercises  starting  with  petits  battements 
sur  le  COU  de  pied  is  as  follows :  Before  the  music 
begins  stand  in  Fifth  Position  with  R  foot  in 
front,  make  a  demi-plie,  then  straighten  out  the 
knees  while  sliding  R  foot  to  side,  and  finally  bend 
R  foot  in  front  of  L  ankle  with  knee  well  turned 
out. 

PETITS  BATTEMENTS  SUR  LE  COU  DE 
PIED  ET  POINTE 

Preparation  (see  above) :  Make  2  quick  little 
beats  on  the  ankle,  behind  and  in  front,  then 
pause  (cts  and,  i,  2),  repeat  these  beatings  (cts 
and,  3,  4),  point  right  foot  to  side  strongly 
(ct  5),  hold  (cts  6,  7,  8).  Repeat  as  long  as  de- 
sired with  R  foot,  then  do  the  exercise  with  L 
foot. 

The  exercise  should  be  practiced  forward  and 
back,  and  in  combined  directions.  It  may  also  be 
practiced  twice  as  fast  as  described. 

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PBTITS  BATTBMENTS  SUR  LB  COU  DB  PIBD 

PETITS  BATTEMENTS  SUR  LE  COU  DE 
PIED  ET  POINTE 

Preparation  (see  page  207)  :  Point  R  foot  to 
side  and  hold  (cts  1-4),  make  8  groups  of  2  little 
beats  around  the  L  ankle  with  R  heel  thus :  after 
closing,  R  foot  to  the  front  of  L  ankle,  strike  R 
heel  behind  and  in  front  in  very  quick  succession, 
then  pause  (ct  5) ;  repeat  these  2  beats  7  times 
more  (cts  6-12),  extend  R  foot  sideward  a  few 
inches  from  the  floor  (cts  13,  14),  close  in  front 
(cts  15,  16).  Repeat  all  as  long  as  desired  with 
R  foot,  then  repeat  with  L  foot. 
Forward  and  Back.  This  exercise  may  be  prac- 
ticed with  the  pointing  forward  or  back,  the  beat- 
ing being  done  in  the  manner  above. 
Variation.  There  may  be  a  rising  onto  the  ball 
or  point  when  making  beats  around  the  ankle,  and 
a  lowering  of  the  heel  when  pointing. 

POINTE  ET  PETITS  BATTEMENTS  SUR 
LE  COU  DE  PIED 

Preparation  (see  page  207) :  Point  R  foot  to 
R  (ct  i) ;  after  bending  it  in  front  of  L  ankle, 
make  many  quick  little  beats  around  the  ankle 
with  R  heel  (cts  2-7),  rest  (ct  8). 

Repeat,  starting  to  point  from  the  ankle 
position. 

Repeat  as  long  as  desired  with  R  foot,  then  re- 
peat with  L  foot. 

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THE   CHALIF  TEXT  BOOK   OP  DANCING 

PETIT  BATTEMENT  TENDU  AND  PETITS 
BATTEMENTS  SUR  LE  COU  DE  PIED 

Preparation  (see  page  207)  :  Slide  R  foot  to 
side  with  knee  bent  so  that  the  foot  is  pointed 
perpendicularly  (ct  i),  while  keeping  the  toes  on 
the  floor  straighten  out  the  knee  (ct  2,  3,  4),  and 
make  many  little  beats  around  L  ankle  with  R 
heel  (cts  5-7),  rest  (ct8),  extend  R  foot  sideward 
a  little  above  the  floor  and  hold  (cts  9,  10),  close 
in  front  (ct  11),  rest  (cts  12-16).  Repeat  as  long 
as  desired,  then  do  the  exercise  with  L  foot. 
At  the  Center  alternate  the  feet  by  starting  in 
Fifth  Position  behind  and  closing  in  front. 

VARIATION 

Do  the  above  exercise  more  slowly,  thus :  point 
R  foot  to  side  with  bent  knee  (ct  i),  straighten 
the  knee  (ct  2-6),  place  R  foot  against  the  front 
of  L  ankle  (ct  7),  rest  (ct  8),  make  little  beats 
around  the  ankle  (cts  9-14),  extend  R  foot  side- 
ward (ct  15),  and  close  behind  (ct  16). 

2  PETITS  BATTEMENTS  DEGAG£S  ET  PETITS 
BATTEMENTS  SUR  LE  COU  DE  PIED 

Starting  with  R  foot  in  Fifth  Position  in  front, 
bend  both  knees  a  little  with  feet  flat  on  the  floor 
(ct  and),  extend  R  foot  to  side  a  few  inches  from 
the  floor,  simultaneously  straightening  L  knee 
(ct  i),  return  to  the  starting  position  (ct  2),  ex- 

214 


PETITS  BATTEMENTS  SUR  LE  COU  DE  PIED 

tend  R  foot  to  side  again  (ct  3),  bend  it  in  front 
of  L  ankle  with  knee  turned  out,  and  simultane- 
ously rise  onto  the  ball  or  point  of  L  foot  (ct  4), 
make  many  little  beats  around  L  ankle  with  R 
heel  (ct  5,  6),  extend  R  foot  to  side  (ct  7),  close 
it  to  L  foot  in  Fifth  Position  behind,  and  lower 
both  heels  to  the  floor,  bending  the  knees  a  little, 
preparatory  to  repeating  the  exercise  (ct  8). 

Repeat  with  R  foot  as  long  as  desired,  then  do 
the  exercise  with  L  foot. 

2  BATTEMENTS  FRAPPfiS  ET  BATTU 

Preparation:  Standing  with  R  foot  in  Fifth 
Position  in  front  make  a  demi-plie  and  rise,  plac- 
ing R  foot  against  the  front  of  L  ankle.  Strike 
R  toe  against  the  floor  at  the  side  twice  (cts  1,2), 
strike  R  foot  against  the  front  of  L  ankle,  simul- 
taneously rising  onto  the  ball  (or  point)  of  L  foot 
(ct  3),  rest  (ct  4).  Repeat  8  times  or  more  with 
R  foot,  lowering  L  heel  when  starting  each  execu- 
tion, then  do  the  exercise  with  L  foot. 

BATTEMENTS  FRAPPES  ET  BATTUS 

Preparation  (see  page  207) :  Point  R  foot  to 
side  twice  with  considerable  force  (ct  1,2),  close 
R  foot  to  the  front  of  L  ankle  (ct  3),  make  little 
beats  around  the  ankle  with  R  heel  (cts  4,  5),  ex- 
tend R  foot  to  side  a  few  inches  from  the  floor 

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THE   CHALIF   TEXT   BOOK    OF   DANCING 

(ct  6),  close  R  foot  to  Fifth  Position  in  front 
(ct7),  rest  (ct8). 

Repeat  as  long  as  desired  with  R  foot,  then  re- 
peat with  L  foot. 

The  exercise  may  be  practiced  at  the  center, 
starting  R  and  L  feet  alternately  while  moving 
forward  little  by  little. 

BATTEMENTS  FRAPPfiS  ET  BATTUS 
Preparation  (see  page  207)  :  Slide  R  foot  out 
sideward  (ct  i,  2),  tap  the  floor  twice  at  the  side 
with  R  point,  keeping  the  knee  straight  (ct  3,  4), 
place  R  foot  firmly  against  the  front  of  L  ankle 
and  hold  it  there  for  a  moment  (ct  5,  6),  make 
many  little  beats  with  R  foot  in  front  and  behind 
the  L  ankle,  moving  R  foot  in  and  out  at  the  knee- 
joint  in  doing  so  (cts  7-12),  extend  R  foot  side- 
ward (cts  13,  14),  close  R  foot  in  front  (cts 
15,  16). 

Repeat  3  or  7  times  more  with  R  foot,  then  re- 
peat an  equal  number  of  times  with  L  foot. 
At  the  Center  the  exercise  may  be  repeated  as  de- 
scribed above,  or  alternating  R  and  L  feet,  mov- 
ing forward,  then  backward,  little  by  little. 

PETIT  BATTEMENT.  ROND  DE  JAMBE  ET 

PETITvS  BATTEMENTS  SUR  LE 

COU  DE  PIED 

Starting  with  R  foot  in  Fifth  Position  in  front, 
do  a  petit  battement  to  side  closing  in  front  (cts 

216 


PETITS  BATTEMBNTS  SUR  LB  COU  DB  PIBD 

I,  2),  extend  the  foot  to  side  a  few  inches  above 
the  floor  (prep,  m'v't,  ct  and),  make  a  small  circle 
forward  in  the  air,  finishing  with  the  foot  placed 
against  the  front  of  the  ankle  (cts  3,  4),  make 
small  beatings  on  the  ankle,  alternately  back  and 
front  (ct  5),  extend  the  foot  to  side  a  little  above 
the  floor  (ct  6),  and  close  behind  in  Fifth  Posi- 
tion (ct  7),  rest  (ct  8). 

PETIT  ROND  DE  JAMBE  PLIE,  PETIT 

BATTEMENT,  ET  PETITS  BATTE- 

MENTS  SUR  LE  COU  DE  PIED 

Preparation  (see  page  201)  :  Describe  a  circle 
from  front  to  back,  keeping  the  toes  on  the  floor, 
bending  the  supporting  knee  and  finishing  in 
Fifth  Position  behind,  with  both  knees  straight 
(cts  1-4),  slide  R  foot  to  side  (cts  5,  6),  bend  R 
foot  in  front  of  L  ankle,  rising  onto  the  ball  or 
point  of  L  foot  (cts  7,  8),  make  many  little  beats 
around  the  ankle  (cts  9-14),  extend  R  foot  to  side 
a  little  above  the  floor  (ct  15),  close  R  foot  to 
Fifth  Position  in  front,  lowering  both  heels  to  the 
floor  (ct  16).  Repeat  as  long  as  desired  with  R 
foot,  then  with  L  foot. 

The  exercise  may  be  practiced  circling  back- 
ward, or  forward  and  backward  alternately. 


217 


COMBINATIONS   CONTAINING 

DfiVELOPPfiS   AND   GRANDS   RONDS 

DE  JAMBE 

PETIT  BATTEMENT  D£GAG£,  D6VEL0PP£ 

Melodious,  smooth  4/4  or  2/4  time  music 

Starting  with  R  foot  in  Fifth  Position  in  front, 
bend  both  knees  sHghtly  (ct  i),  slide  R  foot  to 
side,  then  lift  it  a  little  above  the  floor,  while 
straightening  both  knees  (ct  2),  lift  R  knee  side- 
ward, while  rising  onto  the  ball  of  L  foot  (ct  3), 
hold  (ct  4) ;  slowly  straighten  R  foot  out  side- 
ward, waist-high  (cts  5-8).  Repeat  as  long  as 
desired  with  R  foot,  then  repeat  with  L  foot. 

DEMI-PLlfi,  POINTE,  DfiVELOPPE 

This  is  a  variation  of  the  previous  exercise. 

Starting  with  R  foot  in  Fifth  Position  in  front, 
bend  both  knees  a  little  (preparatory  movement), 
point  R  foot  to  side,  straightening  the  supporting 
knee  (ct  i ),  hold  (ct  2),  lift  R  knee  sideward  with 
foot  near  to  the  supporting  knee  (ct  3,  4),  stretch 
R  foot  out  sideward  (ct  5,  6,  7),  rising  onto  L 
point  on  ct  7,  and  close  R  foot  behind  in  Fifth  Po- 
sition, finishing  with  both  feet  flat  on  the  floor 
(ct  8). 

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GRANDS  RONDS  DE  J  AM  BE  IN  COMBINATIONS 

Repeat  as  long  as  desired,  then  do  the  exercise 
with  L  foot. 

At  the  Center  move  forward  (then  backward), 
starting  with  R  and  L  feet  alternately,  closing  in 
front  when  moving  forward  and  vice  versa. 

3  PETITS  RONDS  DE  JAMBE  ET  DfiVELOPPE 

Preparation  (see  page  201)  :  Describe  3  for- 
ward circles  on  the  floor  with  R  foot,  finishing  in 
Fifth  Position  in  front  (cts  1-6),  lift  R  knee  side- 
ward with  foot  near  the  supporting  knee,  while 
rising  onto  the  ball  or  point  of  L  foot  (cts  7,  8), 
slowly  straighten  R  foot  out  sideward,  waist-high 
(cts  9-14),  close  R  foot  to  Fifth  Position  in  front, 
lowering  both  heels  to  the  floor  (cts  15,  16).  Re- 
peat 8  times  with  R  foot,  then  with  L  foot. 

This  exercise  may  be  practiced  extending  the 
foot  in  any  direction. 

FLEXER  LE  GENOU  TWICE  ET  D£VEL0PPE 

6/8  or  quick  waltz  time 

Starting  with  R  foot  in  Fifth  Position  in  front, 
rise  onto  the  ball  (or  point)  of  L  foot,  lifting  R 
knee  high  sideward  with  foot  near  the  supporting 
knee  (ct  i),  lower  L  heel,  bringing  R  foot  down 
to  Fifth  Position  behind  (ct  2),  repeat  all,  finish- 
ing with  R  foot  in  front  (ct  3,  4)  ;  rise  onto  L  ball 
(or  point)  while  lifting  R  knee  sideward  as  be- 

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THE   CHALIF   TEXT   BOOK    OF  DANCING 

fore  (on  ct  5),  then  very  slowly  extending  R  foot 
sideward,  waist-high,  straightening  out  the  knee 
(ct  6,  7),  bring  R  foot  down  to  Fifth  Position 
in  front,  keeping  the  knee  straight  and  lowering 
both  heels  to  the  floor  (ct  8). 

Repeat  4  or  8  times  with  R  foot,  then  repeat 
with  L  foot. 

Variation.  The  exercise  may  be  done  with  flexer 
le  genou  only  once  to  give  more  time  for  de- 
veloppe. 

2  GRANDS  RONDS  DE  JAMBE  AND  4  TEMPS 
DE  CUISSE 

At  the  bar  or  center 
6/8  or  2/4  time  music 

Starting  with  R  foot  in  Fifth  Position  behind, 
lift  R  foot  sideward  (prep,  m'v't)  describe  a  for- 
ward circle  in  the  air  with  R  foot,  finishing  in 
Fifth  Position  behind  (cts  i,  2),  repeat  all  (cts 
3,  4),  swing  R  leg  high  forward  with  a  free  mo- 
tion at  the  hip  (ct  5),  swing  it  high  backward 
(ct  6),  swing  it  forward  and  backward  again  (cts 
7,  8) .  Repeat  all  3  or  7  times  more,  starting  each 
execution  by  swinging  the  foot  forward,  without 
first  closing  to  Fifth  Position. 

Do  the  exercise  8  or  more  times  with  L  foot. 
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GRANDS  RONDS  DB  J  AM  BE  IN  COMBINATIONS 

7  LITTLE  RONDS  DE  JAMBE  FROM  THE  KNEE 
DOWN  AND  D:£VEL0PP£ 

Melodious  4/4  time  music 

Preparation:  Starting  with  R  foot  in  Fifth 
Position  in  front,  make  a  demi-plie,  then 
straighten  L  knee,  while  pointing  R  foot  forward, 
then  lifting  R  knee  sideward  with  the  lower  leg 
extended  downward  perpendicularly.  Describe 
7  little  forward  circles,  moving  the  leg  from  the 
knee  down  (7  cts),  rest  (ct  8),  very  slowly  ex- 
tend R  foot  forward,  waist-high,  straightening 
out  the  knee  (8  cts).  Repeat  the  7  forward  cir- 
cles and  rest  as  above  (8  cts),  extend  the  foot 
sideward,  waist-high  (8  cts).  Describe  7  little 
circles  backward  from  the  knee  down  and  rest 
(8  cts),  extend  the  foot  backward  as  high  as 
possible  (8  cts).  Describe  7 little  circles  forward 
and  rest  (8  cts),  extend  the  foot  sideward  (8  cts). 
Note  that  the  circling  is  done  backward  only  when 
the  leg  is  to  be  extended  backward.  The  knee 
should  always  have  the  same  sideward  lifted  po- 
sition no  matter  in  what  direction  the  extension 
is  to  be. 

The  exercise  is  done  4  times  or  more  with  R 
foot,  then  with  L  foot. 

Variation:  Do  the  above  exercise  circling  3  times 
(3  cts),  resting  on  ct  4,  then  extending  the  foot 
during  cts  5-8. 

221 


THE   CHALIF   TEXT  BOOK   OF  DANCING 

GRAND  ROND  DE  JAMBE  ET  BATTUS 
Melodious  4/4  time  music 

The  preparation  is  the  same  as  for  the  previous 
exercise.  Describe  a  forward  circle  with  R  foot, 
waist-high,  finishing  with  the  foot  bent  under  as 
in  the  starting  position  (cts  1-4),  make  many  Httle 
beats  with  R  foot  against  the  inside  of  L  knee 
(cts  5-8).  Repeat  7  times  more  with  R  foot,  then 
do  the  exercise  with  L  foot. 

Practice  the  exercise  circHng  backward. 

Practice  it  circHng  forward  and  backward  al- 
ternately. 

PETITS  BATTEMENTS  SUR  LE  COU  DE 
PIED  ET  GRAND  ROND  DE  JAMBE 

2/4  or  4/4  time  music 

Preparation  (see  page  212) :  Make  many  little 
beats  around  L  ankle  with  R  foot  (8  cts),  after 
lifting  R  foot  higher,  so  that  it  is  near  L  knee, 
describe  a  forward  grand  rond  de  jambe  with  R 
foot  (8  cts),  make  many  little  beats  against  L 
knee  with  R  foot  (cts  1-14),  lift  R  foot  sideward, 
then  close  it  to  Fifth  Position  in  front  (cts  15, 
16).  Repeat  with  R  foot,  then  do  the  exercise 
with  L  foot. 

Practice  the  exercise  circling  backward. 


222 


COMBINATIONS   CONTAINING 
fiCHAPPES  SUR  LES  POINTES 

Strongly  accented  2/4  time  music 

DEMI-PLIER  ET  fiCHAPPfi  CHANGfi 
Starting  with  R  foot  in  Fifth  Position  in  front, 
bending  both  knees  without  Hfting  the  heels  from 
the  floor  (4  cts),  rise  (cts  5-8),  rise  onto  both 
points  (cts  9-12),  lower  the  heels,  having  inter- 
changed the  position  of  the  feet  (ct  13-16).  Re- 
peat as  long  as  desired. 

1  PETIT  BATTEMENT  ET  1  fiCHAPPfi 

Starting  with  R  foot  in  front  in  Fifth  Position 
slide  R  foot  to  side  (ct  i),  and  return  it  to  Fifth 
Position  behind  (ct  2),  rise  onto  the  points  (ct  3), 
and  lower  the  heels,  having  interchanged  the  posi- 
tion of  the  feet  so  that  R  foot  is  now  in  front 
(ct  4).  Repeat  all  8  or  16  times,  then  do  the 
exercise  with  L  foot. 

2  PETITS  BATTEMENTS  ET  1  fiCHAPPfi 
At  the  bar 
Starting  with  R  foot  in  Fifth  Position,  in  front, 
make  a  demi-plie,  then  straighten  the  knees,  slid- 
ing R  foot  to  side  (ct  and,  i),  close  it  in  Fifth 
Position  in  front  (ct  2),  slide  it  to  side  (ct  3), 
close  in  Fifth  Position  behind  (ct  4),  rise  onto 

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THE    CHALIF   TEXT   BOOK   OF   DANCING 

both  points  (ct  5),  hold  (ct  6,  7),  lower  the  heels 
(ct8). 

Repeat  as  long  as  desired  with  R  foot,  then  do 
the  exercise  with  L  foot. 

At  the  center 

Slide  R  foot  to  side  (ct  i ),  close  in  front  (ct  2), 
repeat  with  L  foot  (ct  3,  4),  rise  onto  the  points 
(ct  5,  6,  7),  and  lower  the  heels  (ct  8). 

Continue  starting  R  and  L  feet  alternately  as 
long  as  desired. 

PETITS  BATTEMENTS  ET  ECHAPPfiS 

I  petit  battement  to  side,  closing  in  front  (cts  i, 
2),  rise  onto  the  points  with  the  feet  separated 
(echappe)  (ct  3),  lower  the  heels  with  the  feet  in 
the  same  position  (ct  4),  i  petit  battement  for- 
ward, closing  in  front  (cts  5,  6),  rise  onto  the 
points  (ct  7),  lower  the  heels  without  changing 
the  position  of  the  feet  (ct  8).  i  petit  battement 
to  side,  closing  behind  (cts  9,  10),  rise  and  sink 
(cts  II,  12),  I  petit  battement  backward,  closing 
behind  (cts  13,  14),  and  rise  and  sink  (cts  15,  16), 

Repeat  several  times,  then  face  in  opposite  di- 
rection so  as  to  use  the  other  foot  for  petit  batte- 
ment. 

2  BATTEMENTS  FRAPPES  ET  2  fiCHAPPfiS 

Preparation  (see  page  207)  :  Point  R  toe  to  R 
twice  with  considerable  force  (ct  i,  2),  bring  R 

224 


£CHAPP^S  IN   COMBINATIONS 


foot  back  to  Fifth  Position  in  front,  both  soles 
being  flat  on  the  floor  (ct  3),  rest  (ct  4),  rise  onto 
the  points  (ct  5),  lower  the  heels  with  feet  in 
Fifth  Position  as  before  (ct  6),  and  repeat  this 
rising  (ct  7,  8). 

Repeat  as  long  as  desired  with  R  foot,  then  re- 
peat the  exercise  with  L  foot. 

PETIT  BATTEMENT  RELEV£,  2  fiCHAPPfiS 

Starting  with  R  foot  in  Fifth  Position  in  front, 
slide  R  foot  to  side  (ct  i),  lower  R  heel  (ct  2), 
raise  R  heel  (ct  3),  close  R  foot  to  Fifth  Position 
behind  (ct  4),  rise  onto  the  points  (ct  5),  lower 
the  heels  (ct  6),  and  repeat  this  rising  (ct  7,  8). 

Repeat,  closing  R  foot  in  front. 

Repeat  all,  starting  R  foot  as  long  as  desired, 
then  do  the  exercise  with  L  foot. 

ROND  DE  JAMBE  PLIE,  ECHAPPfi  CHANGfi 

Start  with  R  foot  in  Fifth  Position  in  front. 
Describe  a  circle  to  Fifth  Position  behind  with  R 
foot,  keeping  the  toes  on  the  floor  and  bending  the 
supporting  knee  (ct  i,  2,  3),  pause  (ct  4),  rise 
onto  the  points  (ct  5,  6),  and  lower  the  heels, 
having  interchanged  the  position  of  the  feet  (ct  7, 
8).  Repeat  8  or  more  times,  starting  with  R 
foot,  then  face  in  the  opposite  direction  and  re- 
peat an  equal  number  of  times  with  L  foot. 

225 


THE   CHAUF   TEXT  BOOK  OF  DANCING 

The  exercise  may  be  practiced  circling  back- 
ward. 

3  PETITS  RONDS  DE  JAMBE,  1  PETIT 
BATTEMENT,  2  fiCHAFPfiS 

Beginning  with  R  foot  in  Fifth  Position  in 
front,  do  3  forward  petits  ronds  de  jambe  with  R 
foot,  starting  with  a  preparatory  pointing  to  side 
(ct  I,  2,  3),  finishing  in  Fifth  Position  in  front  on 
ct  3,  hold  (ct  4),  slide  R  foot  to  side  (ct  5,  6), 
close  R  foot  behind  (ct  7,  8),  and  rise  onto  the 
points  twice,  interchanging  the  position  of  the  feet 
each  time  (cts  8-16).  Repeat  8  or  16  times,  then 
do  the  exercise  with  L  foot. 

This  exercise  may  be  practiced  circling  back- 
ward, starting  with  the  foot  behind,  or  circling 
forward  and  backward  alternately. 

3  PETITS  RONDS  DE  JAMBE,  1  PETIT 
BATTEMENT,  3  fiCHAPPfiS,  POINTE 

Starting  with  R  foot  in  Fifth  Position  in  front, 
make  a  preparatory  sliding  to  side,  then  describe 
3  circles  forward  on  the  floor,  finishing  in  Fifth 
Position  in  front  (ct  i,  2,  3),  rest  (ct  4),  slide  R 
foot  to  side  and  rest  (cts  5,  6),  return  it  to  Fifth 
Position  in  front  and  rest  (cts  7,  8),  rise  onto  the 
points  (ct  9),  lower  the  heels  with  the  position  of 
the  feet  interchanged  (ct  10),  repeat  this  rising 
twice  more  (cts  11- 14),  lower  Lheel  to  the  floor 

226 


^CHAPP£S  IN  COMBINATIONS 


while  pointing  R  foot  to  side  (ct  15),  rest  (ct  16). 
Repeat  the  exercise  doing  the  circling  back- 
ward, and  continue  doing  it  forward  and  back- 
ward alternately. 

3  PETITS  RONDS  DE  JAMBE  ET  2 
fiCHAPPES  CHANGES 

At  the  Bar.  Starting  with  R  foot  in  Fifth  Posi- 
tion in  front,  do  a  preparatory  slide  to  side,  then 
describe  3  forward  circles  on  the  floor,  finishing 
in  Fifth  Position  in  front  (ct  i,  2,  3),  rest  (ct  4), 
rise  onto  the  points  (ct  5),  lower  the  heels  with 
the  position  of  the  feet  interchanged  (ct  6),  and 
repeat  this  rising  (cts  7,  8).  Repeat  as  many 
times  as  desired,  then  repeat  doing  the  circling 
backward,  finishing  behind.  Do  the  exercise  with 
L  foot. 

At  the  Center.  Do  the  exercise  alternating  the 
feet,  circling  forward  and  finishing  in  front  while 
moving  forward,  and  vice  versa  when  moving 
backward. 

7  PETITS  RONDS  DE  JAMBE,  4  ECHAPPES 
Stand  with  R  foot  in  Fifth  Position  in  front, 
then  slide  R  foot  to  side  (preparatory  movement), 
describe  7  quick  petits  ronds  de  jambe  forward, 
finishing  in  Fifth  Position  in  front  (7  cts),  rest 
(ct  8),  rise  onto  the  points  (ct  9),  lower  the  heels, 
having  interchanged  the  position  of  the  feet  (ct 

227 


THE    CHALIF   TEXT   BOOK   OP   DANCING 

lo),  and  repeat  this  rising  3  times  more   (cts 
11-16). 

Repeat  all,  doing  the  circling  backward,  finish- 
ing in  Fifth  Position  behind  (16  cts).  Continue 
doing  the  exercise  forward  and  backward  alter- 
nately; then  do  the  exercise  with  L  foot. 

PETITS  BATTEMENTS  SUR  LE  COU  DE 
PIED  ET  fiCHAPPES 

Preparation  (see  page  212)  :  Make  many  quick 
little  beats  around  the  ankle  with  R  heel  (cts  1-6), 
point  R  toe  to  R  rather  forcibly  (ct  7),  close  R 
foot  to  L  foot  in  Fifth  Position  behind  (ct  8),  rise 
onto  both  points  (ct  9),  lower  the  heels  (ct  10), 
and  repeat  this  rising  twice  more  (ct  11-14),  ex- 
tend R  foot  sideward  and  close  in  front  of  L  ankle 
(cts  15,  16). 

Repeat,  starting  R  foot,  as  many  times  as  de- 
sired, then  do  the  exercise  with  L  foot. 

PETITS  BATTEMENTS  SUR  LE  COU  DE  PIED 

ET  fiCHAPPES 

To  be  practiced  at  the  center 

Preparation  (see  page  207)  :  Point  R  foot 
to  R  and  hold  (cts  i,  2),  make  many  little 
beats  around  L  ankle  with  R  heel  (cts  3-6), 
point  R  foot  to  side  again  (ct  7),  close  it  to 
Fifth  Position  in  front  (ct  8),  rise  onto  both 
points  (ct  9),  lower  the  heels  (ct  10),  repeat  this 

228 


£CHAPP£S  IN   COMBINATIONS 


rising  twice  more  (cts  11-14),  rise  onto  L  point, 
bending  R  foot  in  front  of  L  ankle  (ct  15),  and 
lower  both  heels  to  the  floor,  R  foot  being  in  Fifth 
Position  in  front  (ct  16). 

Repeat  all,  starting  L  foot,  and  continue  start- 
ing R  and  L  feet  alternately  while  moving  for- 
ward little  by  little. 

PAS  DE  BOURREE  CHANGE  ET  ECHAPPE 

At  the  bar  or  center 

2/4  time  music 

Before  the  music  starts  stand  with  the  feet  in 
Fifth  Position,  R  foot  in  front,  make  a  demi-plic 
and  rise,  sliding  R  foot  to  side,  then  bending  it  be- 
hind L  ankle.  Take  3  very  short  steps  to  L  thus : 
step  R  foot  behind  L  foot  (ct  i),  step  L  foot 
to  L  (ct  and),  step  R  foot  in  front  of  L  foot  in 
Fifth  Position  (ct  2),  rise  onto  the  points  (ct  3), 
and  lower  the  heels  without  changing  the  posi- 
tion of  the  feet  (ct  4).  If  practiced  at  the  cen- 
ter, during  cts  1,2  the  arms  are  in  Second  Posi- 
tion and  during  cts  3,  4  in  Fifth  Position,  at 
which  time  the  shoulders  should  face  partially  to 
L,  the  trunk  and  head  being  twisted  and  bent  to 
R  a  little. 

Repeat  starting  step  L  foot  across  behind, 
moving  to  R  (cts  5-8).  Continue  starting  R  and 
L  feet  alternately  as  long  as  desired. 

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THE   CHALIF   TEXT  BOOK   OF  DANCING 

This  exercise  may  be  made  more  difficult  by 
taking  the  first  2  steps  of  pas  de  Bourree  on  the 
points. 

2  PAS  DE  BOURRfiE  CHANGES  ET  2  £CHAPP£S 

At  the  bar  or  center 

6/8  tarantella  time  music 

One  or  both  hands  may  hold  the  bar.  The 
preparation  is  the  same  as  for  the  previous  exer- 
cise. Do  3  little  steps  thus:  step  on  R  point 
across  behind  L  foot  (ct  i),  step  on  L  point  to 
L  (ct  and),  step  on  the  ball  of  R  foot  across  in 
front  of  L  foot,  simultaneously  lifting  L  foot 
behind  R  ankle  (ct  2),  repeat  all,  starting  step 
L  foot  across  behind,  and  finishing  in  Fifth  Sole 
Position  (cts  3,  and,  4),  rise  onto  both  points 
(ct  5),  lower  the  heels,  interchanging  the  posi- 
tion of  the  feet  (ct  6),  and  repeat  this  rising 
(cts  7,  8).  Repeat  all  8  or  16  times,  starting  R 
foot  always. 


230 


COMBINATIONS  CONTAINING 
RELEVES  SUR  LA  POINTE 

PETITS  BATTEMENTS  ET  FLEXER  LE  GENOU 
2/4  or  6/8  time  music 

Preparation  (see  page  207)  :  Slide  R  foot  to 
side  (ct  i),  bring  it  to  Fifth  Position  in  front  (ct 
2),  slide  it  forward  (ct  3),  return  it  to  Fifth  Posi- 
tion in  front  (ct  4),  rise  onto  L  point,  simultan- 
eously lifting  R  knee  high  sideward  with  foot 
close  to  the  supporting  knee  (ct  5),  hold  (ct  6,  7), 
lower  the  foot  to  Fifth  Position  behind  (ct  8). 

Repeat  as  long  as  desired  with  R  foot,  then  do 
the  exercise  with  L  foot. 

Be  sure  to  make  the  movement  of  rising  onto 
the  point  and  lifting  the  knee  very  clear-cut  and 
decisive.  There  should  be  no  extra  motions 
whatever  of  either  foot  in  taking  the  position, 
and  afterward  it  should  be  held  absolutely  mo- 
tionless. 

FRAPPfi  RELEV£ 
2/4  time  music 

Preparation  (see  page  207) :  Point  R  toe  to 
side  twice  with  considerable  force  (cts  i,  2),  bend 
it  close  behind  L  ankle  with  knee  turned  out,  and 
simultaneously  rise  onto  L  point   (ct  3),  hold 

231 


THE   CHALIF  TEXT  BOOK   OF  DANCING 

(ct  4),  extend  R  foot  to  side  (cts  5,  6),  close  it 
to  Fifth  Position  in  front,  lowering  both  heels 
to  the  floor  (cts  7,  8). 

Repeat  with  R  foot  as  long  as  desirable,  then 
do  the  exercise  with  L  foot. 

2  PETITS  RONDS  DE  JAMBE  AND  RELEVfi 

SUR  LA  POINTS 

2/4  or  4/4  time  music 

Starting  with  R  foot  in  front  slide  R  foot  to 
side  (prep,  m'v't),  describe  3  little  forward  cir- 
cles on  the  floor,  finishing  in  Fifth  Position  in 
front  (cts  I,  2,  3),  rest  (ct  4),  rise  onto  L  point 
lifting  R  knee  sideward  and  hold  (cts  5,  6,  7), 
close  in  front  lowering  the  heels  to  the  floor  (ct 
8).  Repeat  8  times  or  more  with  R  foot,  then 
with  L  foot. 

The  exercise  may  be  done  circling  backward. 

PLl£  ROND  DE  JAMBE,  RELEV£,  ET  PETITS 
BATTEMENTS  SUR  LE  COU  DE  PIED 

Starting  with  R  foot  in  Fifth  Position  in  front, 
describe  a  circle  on  the  floor  with  the  toes,  from 
front  to  Fourth  Position  behind,  while  bending 
the  supporting  knee  (cts  1-4),  suddenly  rise  onto 
L  point  (or  ball) ,  placing  R  foot  against  the  back 
of  L  ankle  (ct  5),  hold  (cts  6,  7,  8),  remaining 
on  the  L  point  make  many  little  beats  around  the 

232 


RBLEVES  IN  COMBINATIONS 


ankle  with  R  foot  (cts  9-14),  extend  R  foot  side- 
ward a  little  above  the  floor  (ct  15),  close  R  foot 
in  Fifth  Position  in  front,  lower  both  heels  to  the 
floor  (ct  16).  Repeat  4  times  or  more  with  R 
foot,  then  the  same  number  of  times  with  L  foot. 
The  exercise  may  also  be  practiced  circling 
backward,  or  circling  forward  and  backward  al- 
ternately. 

PLl£  ROND  DE  JAMBE  ET  RELEVfi  SUR 

LA  POINTE 

Slow,  melodious  4/4  or  2/4  time  music 

Starting  with  R  foot  in  Fifth  Position  in  front, 
describe  a  large  circle  on  the  floor  with  R  foot, 
from  front  to  back,  while  bending  the  supporting 
knee  (cts  1-4)  ;  while  keeping  L  knee  bent  and  R 
foot  stretched  far  back,  the  arch  resting  against 
the  floor,  bend  far  back  at  the  waist  (cts  5-8), 
suddenly  straighten  L  knee  and  rise  onto  L  point, 
lifting  R  foot  high  backward  with  knee  straight, 
then  hold  this  position  (cts  9-12)  ;  remaining  on 
L  point  bend  R  foot  under,  bringing  it  near  to  L 
knee,  then  extend  R  foot  forward  (developpe — 
cts  13,  14,  15)  ;  bring  R  foot  down  to  Fifth  Posi- 
tion in  front,  lowering  both  heels  to  the  floor  (ct 
16).  During  cts  1-2  the  R  arm  remains  in  Sec- 
ond Position ;  during  cts  3-4  it  goes  to  First  Posi- 
tion with  palm  down;  during  cts  5-8  it  is  lifted 

233 


THE   CHALIP   TEXT  BOOK   OF  DANCING 

to  Fifth  Position;  it  remains  there  during  cts 
9-12,  and  is  lowered  to  Second  Position  during 
cts  12-16. 

The  exercise  may  be  repeated  with  R  foot, 
then  done  twice  with  L  foot. 

PAS  DE  BOURRfiE  CHANGfi  ET  RELEVfiS 
SUR  LES  POINTES 

At  the  bar  or  center 
2/4,  6/8  or  waltz  time 

Face  the  bar,  holding  it  with  both  hands. 
Preparation:  standing  in  Fifth  Position,  R  foot 
in  front,  make  a  demi-plie  and  straighten  the 
knees,  lifting  R  foot  sideward.  Take  3  very 
short  steps  on  the  balls  of  the  feet,  thus:  step 
R  foot  across  behind  L  foot  (ct  i),  step  L  foot 
to  L  (ct  2),  step  R  foot  across  in  front  of  L  foot 
(ct  3),  pause  (ct  4),  step  L  foot  to  L  and  imme- 
diately rise  onto  the  point,  R  foot  being  lifted 
backward  from  the  hip  (Fourth  Aerial  Position) 
(ct  5),  lower  L  heel  (ct  6),  and  repeat  this  rising 
(ct  7),  step  on  R  foot,  lifting  L  foot  sideward 
(ct8). 

After  making  a  quick  change  of  weight,  repeat 
the  exercise,  starting  step  L  foot  across  behind 
R  foot.  . 

When  practicing  the  exercise  at  the  center  the 
arms  should  go  thru  First  to  Second  Position 

234 


RELUViS  IN  COMBINATIONS 


when  doing  pas  de  Bourree,  and  to  Third  Posi- 
tion Amplified  with  L  arm  up  when  rising  onto 
L  point  and  vice  versa. 

2  PAS  DE  BOURREE  CHANGES  ET  2  RELEVfiS 
2/4  time  music 

This  is  the  same  as  the  previous  exercise  ex- 
cept that  here  2  pas  de  Bourree  are  done  to  the 
time  taken  for  one  before. 

Step  R  foot  across  behind  (ct  i),  step  L  foot 
to  L  (ct  and),  step  R  foot  across  in  front  (ct  2), 
repeat  starting  L  foot  (ct  3,  and,  4),  and  rise 
onto  R  point  twice  (ct  5-8). 

Repeat,  starting  L  foot,  and  continue  starting 
R  and  L  feet  alternately  as  long  as  desired. 


235 


fiCHAPPES  ET  RELEVfiS  SUR  LES 
POINTES 

At  the  center 
Music :  Sharply  accented  2/4  or  6/8  time 

fiCHAPPfiS  ET  RELEVfiS  ALTERNATIFS 

Starting  with  R  foot  in  Fifth  Position  in  front 
rise  onto  the  points  and  lower  the  heels  without 
changing  the  position  of  the  feet  (cts  i,  2),  rise 
onto  L  point,  bending  R  foot  behind  L  ankle  (ct 
3),  lower  both  heels  to  the  floor  in  Fifth  Position 
with  L  foot  in  front  (ct  4).  On  ct  3  the  shoul- 
ders turn  somewhat  to  R.  Both  hands  hold  the 
skirt. 

Repeat  all  bending  L  foot  behind,  and  continue 
lifting  R  and  L  feet  alternately,  while  moving 
backwards  little  by  little. 

3  ECHAPPES  SIMPLES  AND  1  ECHAPPE 
CHANGE 

This  exercise  may  be  practiced  holding  the  bar 
with  both  hands  or  at  the  center.  In  the  latter 
case  there  may  be  a  slight  turning  of  the  shoul- 
ders from  side  to  side,  as  follows:  Start  with  R 
foot  in  front  and  shoulders  facing  a  little  to  R. 
Maintain  this  position  for  the  3  simple  echappes, 

236 


&CHAPP&S  IN  RELBV£S 


then  turn  the  shoulders  a  little  to  L  when  doing 
echappe  change.     Both  hands  hold  the  skirt. 

2  £CHAPP£S  SIMPLES  AND  2  CHANGfiS 

In  this  case  the  shoulders  should  face  forward 
all  the  time. 

£CHAPP£S  FORWARD  AND  BACK 

Do  8  echappes  changes,  moving  forward  little 
by  little,  and  repeat  the  same  moving  backward. 

RELEVfiS  ALTERNATIFS 
Sur  les  pointes 
At  the  center 

When  used  in  a  dance  these  steps  are  executed 
moving  backwards  only,  but  when  practiced  as 
an  exercise  it  is  well  to  do  them  moving  forward 
too. 

Starting  with  R  foot  in  Fifth  Position  in  front, 
bend  both  knees  slightly,  rise  onto  both  points 
and  instantly  afterward  lift  R  foot  close  behind 
L  leg,  calf-high,  with  knee  turned  out  sideward 
(ct  I ),  lower  the  heels  with  R  foot  behind,  repeat 
all,  lifting  L  foot  backward  (cts  3,  4).  During 
cts  1,2  the  shoulders  turn  to  R,  the  trunk  bend- 
ing to  R,  and  during  cts  3,  4  this  position  is  re- 
versed.    Both  hands  hold  the  skirt.     An  equally 

237 


THE   CHALIF   TEXT  BOOK   OF  DANCING 

charming  efifect  is  produced  by  bending  to  L 
when  standing  on  L  point,  and  vice  versa. 

Repeat,  moving  backward  as  long  as  desired, 
then  do  the  exercise  moving  forward,  starting 
with  R  foot  in  Fifth  Position  behind,  then  bend- 
ing it  in  front. 

RELEVfiS  BATTEMENTS  SUR  LES  POINTES 

AU  QUATRIEME,  EN  AVANT  ET 

EN  ARRlfiRE 

At  the  center 

Rise  onto  R  point  while  swinging  L  foot  for- 
ward (ct  i),  lower  R  heel  (ct  and),  rise  onto  R 
point,  swinging  L  foot  backward  (ct  2),  and 
lower  R  heel  (ct  and).  Have  the  arms  in  Third 
Position  Amplified,  R  up.  Repeat  4  times  in  all, 
then  do  the  exercise  on  L  foot. 

When  rising  on  R  point  the  dancer  should  be 
facing  diagonally  forward  R,  and  vice  versa. 

fiCHAPPfiS  EN  TOURNANT 

Starting  with  R  foot  in  Fifth  Position  in  front, 
bend  both  knees  a  little,  then  rise  onto  both 
points  and  making  about  an  eighth  of  a  turn  to 
R  (ct  i),  lower  the  heels  in  the  same  position 
(ct  2),  repeat  7  times  more,  turning  in  place 
to  R  little  by  little,  and  keeping  R  foot  in  front 
always  (cts  3-16).     Both  hands  hold  the  skirt. 

238 


&CHAPP&S  AND  RELBV&S 


This  turning  may  be  done  to  the  L,  keeping  L 
foot  in  front  always. 

The  exercise  should  also  be  practiced  making 
a  complete  turn  with  4  echappes. 

2  £CHAPP£S  SIMPLES,  AND  2  RELEVfiS 
Sur  les  pointes 

Starting  with  R  foot  in  front  do  2  echappes 
without  changing  the  position  of  the  feet  (cts 
1-4),  rise  onto  L  point,  bending  R  foot  behind 
L  ankle  or  calf  (ct  5),  lower  both  heels  to 
Fifth  Position  with  L  foot  in  front  (ct  6),  repeat 
these  last  2  cts,  rising  onto  R  point  and  bending 
L  foot  behind  (cts  7-8).  Repeat  all  as  many 
times  as  desired.  Whenever  lifting  L  foot  in 
front  turn  the  shoulders  a  little  to  L,  and  vice 
versa. 

4  ECHAPPES  CHANGES  AND  4  ALTERNATING 
RELEVfiS 

Starting  with  R  foot  in  Fifth  Position  behind, 
do  4  echappes  changes  moving  forward  (8  cts), 
bend  R  foot  in  front  of  L  foot,  calf-high,  while 
rising  onto  L  point  (ct  9),  lower  both  heels  to 
the  floor,  R  foot  being  in  Fifth  Position  in  front 
(ct  10),  bend  L  foot  in  front  of  R  ankle  while 
rising  onto  R  point  (ct  11),  lower  the  heels  with 

239 


THE   CHALIF  TEXT  BOOK   OP  DANCING 

L  foot  in  front  (ct  12),  repeat  the  last  4  cts 
(cts  13-16).  Repeat  all,  continuing  to  move 
forward,  then  do  the  exercise  moving  backward, 
but  continuing  to  bend  the  foot  in  front. 


240 


MORE  EXERCISES  AT  THE  CENTER 

1  GLISSADE,  CHANGEMENT  DE  PIEDS  ET 

BOURRfiE  A  TERRE 

Sur  les  pointes 

2/4  or  6/8  time  music 

Starting  with  R  foot  in  Fifth  Position  in  front, 
rise  onto  the  ball  of  L  foot  while  sliding  R  foot 
to  R  (preparatory  movements),  transfer  the 
weight  to  R  foot  (ct  i),  bring  L  foot  to  R  foot 
in  Fifth  Position  in  front,  lowering  both  heels 
to  the  floor  (ct  2),  jump  straight  upward  from 
both  feet  and  land  with  their  positions  inter- 
changed (ct  3),  rise  onto  both  points  (ct  4),  move 
sideward  to  R  with  many  little  steps  on  the 
points  (cts  5,  6,  7),  stand  on  R  point  with  L  foot 
lifted  backward  (ct  8).  During  cts  i,  2  the 
arms  are  in  Third  Position  with  R  arm  up;  dur- 
ing cts  3,  4  in  Second  Position;  and  during  cts 
5-8  they  go  thru  First  to  Third  Position  with  R 
arm  up. 

Repeat  all  to  L,  starting  L  foot  and  continue 
starting  R  and  L  feet  alternately  for  as  long  as 
desired. 

241 


THE   CHALIF   TEXT  BOOK   OF  DANCING 
3  PAS  DE  BOURRfiE  CHANGES  ET 

1  EchappE 

6/8  or  2/4  time  music 

Starting  with  R  foot  in  Fifth  Position  in  front, 
slide  R  foot  to  side,  lifting  it  a  few  inches  from 
the  floor  (preparatory  movement),  step  on  R 
point  across  behind  L  foot,  step  on  L  point  to  L, 
step  on  the  ball  of  R  foot  across  in  front  of  L 
foot,  while  bending  L  foot  behind  R  ankle  (cts 
I,  and,  2),  repeat  all  twice  more,  starting  L  and 
R  feet  (cts  3-6),  rise  onto  both  points  (ct  7), 
lower  the  heels  without  changing  the  position  of 
the  feet  (ct  8).  During  the  3  pas  de  Bourrees 
the  arms  are  used  in  Third  Position  from  side  to 
side,  the  L  arm  being  lifted  first,  the  trunk  and 
head  bending  to  R,  L  and  R,  and  the  shoulders 
turning  a  little  from  side  to  side.  On  the  echappe 
the  arms  are  lifted  to  Fifth  Position,  while  the 
trunk  remains  as  it  is,  i.  e.,  facing  a  little  to  L 
and  bending  to  R. 

Repeat  all,  starting  R  and  L  feet  alternately, 
and  beginning  each  execution  with  a  quick  pre- 
paratory sideward  lifting  of  the  foot. 

2  PAS  DE  BOURREE  CHANGES,  TOUR  OUVERT 
2/4  time  music 
Starting  with  R  foot  in  Fifth  Position  in  front 
and  arms  in  Second  Position,  bend  both  knees 

242 


CENTER  EXERCISES 


a  little,  then  straighten  them  out,  lifting  R  foot 
sideward  (preparation),  step  on  R  point  across 
behind,  L  point  to  L  and  on  the  ball  of  R  foot 
across  in  front,  finishing  with  L  foot  bent  behind 
R  ankle  (cts,  and  i,  and,  2),  repeat,  starting  L, 
foot  (cts  3,  and,  4),  swing  R  foot  backward  in  a 
large  half-circle  in  the  air,  while  hopping  on  L 
foot,  then  step  R  foot  across  behind  L  foot  and 
close  to  it,  turn  completely  around  to  R  on  the 
balls  of  both  feet,  finishing  with  R  foot  lifted 
forward  (cts  5,  6),  step  diagonally  forward  R  on 
R  point,  with  L  foot  lifted  backward  and  hold 
(cts  7,  8).  During  cts  1-4  the  arms  remain  in 
Second  Position;  during  cts  5,  6  they  are  in 
Fourth  Position,  R  up,  the  trunk  and  head  bend- 
ing to  L  and  back ;  during  cts  7,  8  the  arms  are 
in  Third  Position  Amplified,  R  up. 

Repeat  all,  starting  L  foot  and  continue  start- 
ing R  and  L  feet  alternately. 

GLISSADE,  ASSEMBLE,  ]£CHAPP£ 
2/4  or  6/8  time  music 
Preparation:  Standing  with  R  foot  in  Fifth 
Position  in  front,  raise  the  arms  thru  First  to 
Third  Position.  Rise  onto  the  balls  of  the  feet, 
slide  on  R  foot  to  R,  then  bring  L  foot  up  to  it  in 
Fifth  Position  in  front,  lowering  both  heels  to 
the  floor  (cts  i,  2),  hop  gently  on  L  foot,  while 

243 


THE   CHALIF   TEXT   BOOK   OF  DANCING 


swinging  R  foot  forward  in  a  half-circle  in  the 
air,  and  land  on  both  feet  in  Fifth  Position  with 
R  foot  in  front  (cts  3,  4),  rise  onto  the  points 
(cts  5,  6),  and  lower  the  heels  (cts  7,  8).  The 
arms  are  used  in  Third  Position  with  R  up  and 
the  reverse,  and  in  Fifth  and  in  Second  Posi- 
tions. 

Repeat,  starting  R  and  L  feet  alternately  as 
long  as  desired. 

ECHAPPfi  ET  TOUR  SUR  LES  POINTES 

Starting  from  Fifth  Position  with  R  foot  in 
front  rise  onto  the  points  (ct  i),  lower  the  heels 
without  changing  the  position  of  the  feet  (ct  2), 
after  making  a  little  demi-rond  de  jambe  with  R 
foot,  leap  on  R  foot  to  R,  step  L  foot  across  over 
R  foot,  rise  onto  the  points  and  turn  completely 
around  to  R  (ct  3),  lower  the  heels  in  Fifth  Posi- 
tion with  R  foot  in  front  (ct  4).  Repeat  all  3  or 
7  times  more  to  R,  then  an  equal  number  of  times 
to  L,  and  repeat  all  if  desirable. 

2  ]£CHAPP£S  ET  2  TOURS  SUR  LES  POINTES 

Do  2  echappes  changes,  2  tours  sur  les  pointes 
to  R  and  repeat  all  3  times  more  to  R,  then  repeat 
all,  moving  to  L. 

244 


CENTER  EXERCISES 


2  tours  sur  les  pointes  et 
bourrEe  a  terre 

2/4  or  Waltz  time 

Do  2  tours  sur  les  pointes  as  above,  moving  to 
R,  starting  R  foot  (2  meas.) ;  continue  moving 
to  R,  with  little  steps  on  the  points,  the  feet  being 
crossed,  finishing  on  the  last  ct  standing  on  R 
point  with  L  foot  lifted  backward  or,  for  simplic- 
ity's sake,  finishing  in  Fifth  Position  on  the  soles 
of  both  feet  (2  meas.).  The  arms  are  used  in 
Second  and  crossed  First  Position.  When  turn- 
ing, then,  go  thru  First  to  Third  Position,  R  up. 

Repeat  all  to  L  and  R  alternately. 

3  TOURS  SUR  LES  POINTES  ET  POINTE 
2/4  or  Waltz  time 

Do  3  tours  sur  les  pointes  as  above  to  R  start- 
ing R  foot  (3  meas.),  step  R  foot  to  R  and  point 
L  toe  across  in  front  (4  meas.).  The  arms  arc 
used  in  Second  and  a  crossed  First  Position  when 
turning,  and  when  pointing  are  in  Third  Posi- 
tion, R  up,  the  trunk  and  head  bending  to  L.  Re- 
peat, starting  L  foot  to  L  and  continue  starting 
R  and  L  feet  alternately. 

BALANCE  EN  AVANT  ET  EN  ARRIERRE 
Sur  les  pointes 
Rise  onto  the  points,  the  feet  being  in  Fifth 
Position  with  R  foot  in  front.     Step  forward  on 

245 


THE   CHALIF   TEXT  BOOK    OF  DANCING 


R  point  bending  L  foot  close  behind  R  foot,  calf- 
high,  with  knee  turned  out  (cts  1,2),  step  back  on 
L  point,  bending  R  foot  close  in  front  of  L  foot, 
calf-high  with  knee  turned  out  (cts  3,  4).  Both 
hands  hold  the  skirt  and  the  trunk  and  head  bend 
to  L  and  to  R. 

Repeat  8  times  in  all,  then  after  a  pause,  do  the 
exercise  with  L  foot  forward  and  R  foot  back. 

2  PAS  DE  BOURRfiE  CHANGES  AND 
STEP  ON  ONE  POINT 

Do  pas  de  Bourree  change  starting  step  R  foot 
across  behind,  taking  the  first  2  steps  on  the 
points  and  the  third  on  the  ball  (ct  i,  and,  2), 
repeat  L  foot  (cts  3,  and,  4),  step  diagonally  for- 
ward on  R  foot  with  L  foot  lifted  backward  (ct 
5),  hold  this  position  (cts  6,  7,  8).  During  cts 
I,  2  the  arms  are  in  Third  Position,  L  up,  the 
trunk  bending  to  R  during  cts  3,  4  this  position 
reversed,  and  on  ct  5  is  reversed  again,  but  the 
R  arm  is  then  in  Amplified  Third  Position. 

Repeat  all,  starting  L  and  R  feet  alternately. 

1  POLKA,  POINT,  2  fiCHAPPES 

Do  a  polka  step  diagonally  forward  R  on  the 
balls  of  the  feet,  starting  R  foot  (cts  i,  and,  2), 
point  L  toe  to  L  (ct  3),  close  L  foot  to  R  foot 
in  Fifth  Position  in  front  (ct  4),  do  2  echappes 

246 


CENTER  EXERCISES 


without  changing  the  position  of  the  feet  (cts 

5-8). 

Repeat  3  times  more,  starting  L  and  R  feet 
alternately,  moving  forward  in  a  zigzag. 

Repeat  all  moving  backwards  in  a  zigzag. 

PAS  DE  BOURRfiE  COUPE  ET  2  PIROUETTES 
2/4  time  music 
Preparation :  Stand  in  Fifth  Position,  R  foot 
in  front,  facing  diagonally  forward  L,  with  arms 
in  Second  Position.  Bend  L  knee  a  little,  while 
lifting  R  foot  forward  (preparatory  movement), 
bring  R  foot  down  to  L  foot,  rise  onto  the  points, 
and  take  several  little  steps  in  place  on  the  points 
(cts  I,  and,),  drop  onto  the  ball  of  R  foot,  lifting 
L  foot  backward  (ct  2),  bring  L  foot  down  to 
R  foot,  and  repeat  the  little  steps  on  the  points 
(ct  3),  drop  onto  the  ball  of  L  foot,  lifting  R 
foot  forward  (ct  4),  and  do  2  pirouettes  on  the 
points  to  R,  starting  each  with  a  demi-rond  de 
jambe  with  R  foot  (cts  5-8).  Finish  the  second 
turn  with  the  weight  on  R  foot  and  L  foot  pointed 
forward.  During  cts  1,2  the  R  arm  swings  in- 
ward to  First  Position,  the  trunk  bending  to  R 
and  forward;  during  ct  3,  4  the  R  arm  opens  to 
Second  Position,  the  trunk  bending  to  L  and  back 
a  little;  during  each  turn  the  arms  go  from  Sec- 
ond to  Fifth  Position,  the  trunk  bending  to  L  and 

247 


THE   CHALIF   TEXT  BOOK   OF  DANCING 

back,  and  the  face  looking  toward  audience  over 
L  shoulder.  Finish  with  arms  in  Lateral  Position 
to  R  and  trunk  bending  to  L. 

Repeat  to  L,  starting  L  foot,  and  continue  al- 
ternating R  and  h  feet  as  long  as  desired. 

POLKA,  BRIS£,  RELEVfi 
Polka  music 

Do  a  polka  step  diagonally  forward  R  on  the 
balls  of  the  feet  (cts  i,  and,  2),  step  L  foot 
across  in  front  of  R  foot  (ct  3),  hop  high  on  L 
foot,  striking  the  calves  of  the  legs  together  in 
the  air,  the  legs  being  well  turned  out  (ct  4),  step 
diagonally  forward  R  on  R  foot,  and  instantly 
rise  onto  the  point  with  L  foot  lifted  high  back- 
ward (ct  5),  lower  the  heel  of  R  foot  (ct  6),  and 
repeat  this  rising  and  lowering  while  keeping  L 
foot  lifted  backward  (cts  7,  8).  The  arms  are 
used  in  Lateral  Position  to  R,  in  Fifth  Position 
and  in  Third  Position,  R  up. 

Repeat  to  L,  starting  L  foot,  and  continue  al- 
ternating R  and  L  feet  as  long  as  desired. 

jet£  and  PETITS  BATTEMENTS  SUR  LE 

COU  DE  PIED 

At  the  center 

2/4  or  6/8  time  music 

Starting  with  R  foot  in  Fifth  Position  behind, 

leap  on  R  foot  to  R  (ct  i),  make  many  little 

248 


CENTER  EXERCISES 


beats  with  L  foot  around  R  ankle,  and  finish  with 
L  foot  extended  sideward  (ct  2),  repeat  to  L  (cts 
3,  4)  and  continue  alternating  as  long  as  desired. 
Whenever  leaping  to  R  the  trunk  bends  to  L, 
the  arms  being  in  Lateral  Position  to  R,  and 
whenever  leaping  to  L  this  position  is  reversed. 

THE  SAME  WITH  BOURREE  CHANGE  AND 
RELEVfi  SUR  LA  POINTE  ADDED 

Do  the  above  exercise  to  R  (cts  i,  2),  step  L 
foot  across  behind  R  foot,  step  R  foot  to  R,  and 
step  L  foot  across  in  front  of  R  foot  (cts  3,  and, 
4),  step  on  R  point  to  R  (ct  5),  lower  the  heel 
(ct  6),  repeat  this  rising  (cts  7,  8).  The  arms 
are  used  in  Lateral  Position  to  R  at  first,  then 
they  open  to  Second  Position,  then  go  to  Third 
Position  with  R  arm  up. 

Repeat  to  L,  starting  L  foot  and  continue 
alternating  as  long  as  desired. 

THE  SAME  WITH  2  PIROUETTES  ADDED 

Do  the  first  4  counts  of  the  preceding  exercise, 
then  continue  moving  to  R  with  2  pirouettes  to 
R,  each  time  turning  on  both  points  for  an  in- 
stant, finishing  on  L  point  with  R  foot  bent  in 
front  of  L  ankle  (cts  5-8). 

Repeat  4  times  in  all  to  R,   finish  the  last 

249 


THE    CHALIF   TEXT   BOOK   OF  DANCING 


pirouette  with  the  feet  in  Fifth  Position,  then  re- 
peat all  to  L. 

ENTRECHAT  A  QUATRE  AND  fiCHAPPfi 

SUR  LES  POINTES 

Strongly  accented  2/4  or  6/8  time  music 

Entrechat  (to  be  described  fully  in  a  later  vol- 
ume) is  a  jumping  straight  upward  from  both 
feet,  and  interchanging  their  position  at  least 
twice  while  in  the  air.  When  the  changing  is 
done  only  twice  the  movement  is  called  entrechat 
a  quatre.  In  these  present  exercises  only  this 
variety  of  entrechat  will  be  used. 

Standing  with  R  foot  in  Fifth  Position  in  front, 
make  a  preparatory  demi-plie,  spring  up  into  the 
air,  interchange  the  position  of  the  feet  twice 
(i.  e.,  forward  and  back)  and  land  in  their  orig- 
inal position  (cts  and,  i),  rest  (ct  2),  do  an 
echappe  sur  les  pointes  without  changing  the  posi- 
tion of  the  feet  (cts  3,  4).  Repeat  all  as  long  as 
desired.  The  hands  may  hold  the  skirt,  or  the 
arms  be  held  in  Second  Position. 

ENTRECHAT  A  QUATRE,  fiCHAPPfi  AND 
2  RELEVfiS 

Do  the  previous  exercise  once  (cts  1-4),  rise 
onto  R  point,  bending  L  foot  in  front  of  R  ankle 
or  calf  (ct  5),  lower  both  heels  to  Fifth  Position 

250 


CENTER  EXERCISES 


with  L  foot  in  front  (ct  6),  rise  onto  L  point 
bending  R  foot  in  front  (ct  7),  lower  the  heels 
with  R  foot  in  front  (ct  8).  Repeat  all  as  long 
as  desired. 

On  ct  5  the  shoulders  should  turn  a  little  to  L, 
and  on  ct  7  to  R. 

2  ENTRECHATS  A  QUATRE  AND  3  ECHAPPfiS 

Starting  with  R  foot  in  front,  bend  the  knees 
slightly,  then  do  an  entrechat,  finishing  with  the 
feet  in  the  same  position  (ct  i),  without  pausing 
repeat  this  entrechat  (ct  2),  do  3  echappes 
changes  (cts  3-8),  finishing  with  L  foot  in  front. 
Repeat  all,  starting  from  this  closing  position, 
and  continue  the  exercise  as  long  as  desired. 

ENTRECHAT  AND  ECHAPPE  TWICE, 
4  RELEVES  ON  ONE  FOOT 

Do  entrechat  echappe  as  described  in  a  pre- 
vious exercise  (4  cts),  repeat  (cts  5-8),  rise 
onto  R  point  4  times  while  keeping  L  foot  lifted 
high  backward  from  the  hip  (cts  9-16).  Upon 
lowering  the  heel  after  the  last  rising,  bring  L 
foot  down  to  R  foot  in  Fifth  Position  behind. 
During  cts  1-8  the  arms  are  in  Second  Position 
or  both  hands  hold  the  skirt,  and  during  cts  9-16 
in  Third  Position  Amplified,  R  arm  up. 

251 


PLANNING  LESSONS 

from  this  hook 

The  ideal  lesson  in  toe  dancing  contains  a  spe- 
cial exercise  for  giving  strength  and  freedom 
to  each  part  of  the  legs  and  torso  separately, 
then  plastic  exercises  for  all  parts  together.  Some 
form  of  the  following  exercises  should  always  be 
given : 

Plier  to  strengthen  the  thighs  and  knees. 
Petits  Battements  to  strengthen  the  feet. 
Grands  Battements,  or  other  exercises  in  lift- 
ing the  leg,  for  freedom  at  the  hip-joint. 
Ronds  de  Jambe  (petits  or  grands)  for  smooth 

motion  at  the  hip-joint. 
Petits  Battements  sur  le  Cou  de  Pied  for  quick 

action  at  the  knee-joint. 
Bending  exercises  for  the  torso. 
Plastic  exercises  for  the  entire  body. 
Exercises  at  the  center.     These  consist  of  a 
repetition  of  many  or  all  of  the  exercises 
just  practiced  at  the  bar.    For  the  sake  of 
variety  these  may  be  practiced  alternating 
the  feet,  moving  forward,  then  backwards. 
Other  exercises  should  follow  to  bring  dexter- 
ity, balance  and  various  qualities  of  good  dancing. 

252 


SAMPLE  LESSONS 


A  dance  should  finish  the  lesson  to  arouse  in- 
terest by  supplying  a  reason  for  the  exercises. 
It  should  not  be  started  with  the  first  lesson,  but 
may  be  taught  early  in  the  course  by  having 
pupils  dance  it  on  the  balls  of  the  feet  at  first. 
Then  when  their  feet  become  strong  enough  they 
may  do  the  same  dance  on  the  points. 

SAMPLE  LESSON  No.  i 

A  first  lesson  for  very  young  children  who  are 
beginners  in  dancing,  to  be  practiced  for  3  or 
preferably  5  consecutive  lessons. 

PART  1—At  the  Bar 

1.  Correct  standing  position  with  heels  together 
and  toes  turned  outward  to  90°.    Page  41. 

2.  Arm  positions,  using  one  arm  at  a  time,  mov- 
ing the  arm  from  the  stationary  position  (in 
front  of  the  thigh)  to  First,  Second,  Third 
and  Third  Amplified  Positions,  the  teacher 
naming  the  positions  as  they  take  them. 

3.  The  5  standard  foot  positions  in  front,  then 
in  the  rear.    Page  80. 

4.  The  4  elevations  of  the  foot,  ist  exercise. 
Add  the  2nd  exercise  during  the  2nd  and 
following  lessons.    Page  84. 

5.  Demi-Plier  8  times  in  First  and  8  times  in 
Second  Position,  using  2  cts  to  bend  and  2 
cts  to  rise.    Page  87. 

253 


THE   CHALIP  TEXT  BOOK   OP  DANCING 

6.  Plies   Battements  8  times   forward  and  8 
times  backward  with  each  foot.    Page  lOi. 

7.  Sideward  bending  with  pointing  the  foot. 
Page  158. 

8.  Demi-Echappe  8  or   16  times,  holding  bar 
with  both  hands.     Page  129. 

PART  II— At  the  Center 
9-15.  Repeat  the  above  exercises  at  the  center. 

16.  Plastic  Exercise.    Page  190. 

17.  The  Courtesy.  See  Book  I  of  the  Chalif  Text 
Book  of  Dancing. 

18.  Studies  in  Rhythm  by  Clapping  the  Hands. 
The  object  of  this  exercise  is  to  teach  listening 

to  the  music.  The  pianist  may  play  2/4  time 
while  the  children  clap  their  hands  on  ct  i  of  each 
measure,  then  once  to  each  count.  She  may  then 
play  4/4  time  and  waltz  or  mazurka  time  while 
they  clap  on  the  first,  then  on  every  count  of  the 
measure.  A  most  valuable  exercise  is  clapping 
on  ct  I  and  ct  3  of  waltz  or  6/8  time  music. 

The  children  may  keep  time  with  the  feet  in- 
stead of  clapping,  by  beating  the  ball  of  the  foot 
against  the  floor  while  the  heel  remains  always 
on  the  floor.  When  3/4  time  is  used,  do  thus: 
beat  with  the  ball  of  the  foot,  finishing  with  foot 
lifted  but  heel  on  the  floor  (ct  i),  turn  the  toe  in 
(ct  2),  turn  it  out  (ct  3.) 

19.  March  out  to  Polonaise  music.  See  Book  IV. 

254 


SAMPLE  LESSONS 


SAMPLE  LESSON  No.  2 
For  beginners  in  toe  dancing  who  are  not  ex- 
tremely young  and  have  had  some  dancing  be- 
fore. 

To  be  practiced  for  3  or  5  consecutive  lessons. 

PART  I— At  the  Bar 

1.  Demi-Plier  8  times  in  Third  and  8  times  in 
Fourth  Position.     Page  87. 

2.  Petits  Battement  releves  in  Second  Position. 
Page  99. 

3.  Petits  Battements  in  all  3  directions.    Page 
92. 

4.  Plier  in  First  and  Second  Positions,  8  times 
in  each.     Page  88. 

5.  Petits  Battements  sur  le  Cou  de  Pied,  ist 
exercise.    Page  119. 

6.  Grands  Battements  in  Second  Aerial  Posi- 
tion.   Page  132. 

7.  Petits  Ronds  de  Jambe  Plies.    Page  112. 

8.  Twisting  at  the  bar.    Page  160. 

9.  fichappes  sur  les  pointes,  holding  the  bar 
with  both  hands.     Page  129. 

PART  II— At  the  Center 
10-17.    Repeat  the  above  8  exercises. 

18.  Pas  de  Bourrees  Changes.     See  Book  II, 
page  142. 

19.  Point  twice  and  Pas  de  Bourree  Change. 
Book  II,  page  145. 

255 


THE   CHALIF   TEXT  BOOK   OF  DANCING 

20.  Tour  sur  les  pointes  (this  volume,  page  178), 
but  executed  on  the  balls  of  the  feet. 

21.  Plastic  Exercise.    Page  191. 

SAMPLE  LESSON  No.  3 

This  and  the  following  sample  lessons  are  not 
to  be  used  as  first  lessons  for  classes.  Each  will 
be  somewhat  more  difficult  than  the  one  preceding 
it,  and  each  should  be  practiced  for  4  or  5  con- 
secutive lessons. 

PART  1—At  the  Bar 

1.  Demi-Plier  in  Fifth  Position.     Page  87. 

2.  Stretching  the  arch  and  ankle,  ist  exercise. 
Page  161. 

Petits  Battements  16  times  in  each  of  the  3 
directions.    Page  92. 

Rond  de  Jambe  Plie  and  Petit  Battement. 
Page  205. 

5.  Petits  Battements  Degages.    Page  103. 

6.  Petits  Battements  sur  le  cou  de  pied,  2nd  and 
3rd  exercises.  Page  122. 
Petit  Battement  and  Grand  Battement  in 
Second  Position,  the  next  lesson  in  Fourth 
Position  forward  and  backward.  Page  209. 
Forward  and  backward  bending  and  twist- 
ing at  the  bar.  Pages  159,  160. 
Petit  Battement  and  Echappe.     Page  223. 

256 


SAMPLE  LESSONS 


PART  II— At  the  Center 
10-17.  Repeat  the  above  8  exercises. 

18.  Pas  de  Bourree  Change  and  fichappe.  Page 
229. 

19.  ;£chappe  and  Tour  sur  les  pointes.  Page 
244. 

20.  2  Echappes  and  2  Tours  sur  les  pointes. 
Page  244. 

21.  Plastic  Exercise.    Page  192. 

22.  Begin  a  simple  toe  dance,  e.g.,  "La  Mort  de 
Papillon"  (or  some  other  of  similar  sim- 
plicity). 

SAMPLE  LESSON  No.  4 

PART  I— At  the  Bar 

1.  Demi-Plier  in  Fifth  Position  and  Petit  Bat- 
tement.    Page  197. 

2.  Petits  Battements  in  quick  tempo.  Page  106. 

3.  Petit  Rond  de  Jambe  and  Point.  Page 
202. 

4.  Petits  Battements  Frappes.  Page  126.  Dur 
ing  the  following  lessons  add  some  battus  be- 
fore extending  the  foot.    Page  126. 

5.  Stretching  the  Arch  and  Ankle,  2nd  exercise. 
During  the  following  lessons  practice  the 
3rd  exercise.    Page  161. 

6.  Flexer  le  Genou.    Page  135. 

257 


THE   CHALIF  TEXT  BOOK   OF  DANCING 

7.  Forward  and  backward,  sideward  bending 
and  twisting  of  the  trunk.     Pages  158-160. 

8.  Stretching  and  turning  out  the  legs,  ist  exer- 
cise. Later  substitute  the  2nd  and  3rd  exer- 
cises, etc.    Page  164. 

9.  Grands  Fouettes.     Page  137. 

10.  Bourree  a  Terre,  preparatory  and  ist  exer- 
cises.   Page  168. 

PART  II— At  the  Center 
11-19.  Repeat  the  above  10  exercises. 

20.  2  Pas  de  Bourree  and  Echappes.    Page  230. 

21.  Practice  the  original  polka,  dancing  on  the 
balls  of  the  feet,  as  described  in  Book  II, 
page  163.  The  Polka  is  hop,  slide,  change, 
leap. 

22.  Polka,  point  and  2  echappes.    Page  246. 

23.  3  Tours  sur  les  pointes  and  point.    Page  245. 
24  2  Tours  sur  les  pointes  and  Bourree  a  Terre. 

Page  245. 

25.  Plastic  Exercise.    Page  194. 

26.  A  dance  of  medium  difficulty  (grade  2). 

SAMPLE  LESSON  No.  5 

PART  I— At  the  Bar 

1.  Demi-Plier  and  Plie  Rond  de  Jambe  from 
front  to  back.    Page  198. 

2.  Petits  Ronds  de  Jambe  Releves.    Page  1 14. 

258 


SAMPLE   LESSONS 


3.  Grands  Battements  in  Second  and  Fourth 
Position  in  front  alternately.     Page  132. 
Repeat  lifting  the  foot  to  Second  and  Fourth 
Position  behind  alternately.     Page  132. 

4.  Developpe  forward  only.  On  the  3rd  repeti- 
tion of  this  lesson  add  Developpe  backward 
and  sideward.    Page  143. 

5.  Backward  bending  at  the  bar.     Page  158. 

6.  Petits  Battements  sur  le  cou  de  pied,  4th 
exercise.    Page  122. 

7.  Stretching  the  arch,  3rd  exercise.    Page  162. 

8.  Petits  Ronds  de  Jambe  in  quick  tempo.  Page 
115. 

9.  Echappes  sur  les  pointes,  2nd  and  3rd  exer- 
cises.    Page  130. 

10.  Petits  Battements  sideward,  forward,  side- 
ward, backward.    Page  96. 

11.  2  Echappes  and   i  Releve  sur  les  pointes. 
Page  174. 

12.  Pas  de  Bourree  sur  les  pointes.    Page  173. 

13.  Flexions    de    Genoux    alternatifs    sur    les 
pointes.    Page  172. 

PART  ll—Af  the  Center 
14-26.    Do  the  above  12  exercises  at  the  center. 
27.    Bourree  a  Terre  sur  les  pointes,  3rd  exercise. 
Later  add  4th  and  5th  exercises.    Page  168. 

259 


THE   CHALIF   TEXT  BOOK   OF  DANCING 

28.  fichappes  en  tournant,  at  first  using  8  of  them 
to  turn,  then  4.     Page  238. 

29.  Balance    forward    and    backward    on    the 
points.     Page  245. 

30.  Plastic  Exercise.     Page  193. 

Dance  (grade  2-3). 

SAMPLE  LESSON  No.  6 

PART  I— At  the  Bar 

1.  Plier  and  elever  in  Fifth  Position  on  the 
points.    Page  90. 

2.  Petit  Battement  and  Grand  Battement.  Page 

208. 

3.  3  fast  Petits  Ronds  de  Jambe  and  rest  and 
Plie  Rond  de  Jambe  from  front  to  back. 

4.  Grands  Ronds  de  Jambe,  ist  exercise.  Page 
147.  After  4  or  5  lessons  substitute  Grands 
Ronds  de  Jambe  Plies.    Page  151. 

5.  Petits  Battements  sur  le  Cou  de  Pied,  5th 
and  6th  exercises.     Pages  122,   123. 

6.  Petit  Battement,  Petit  Rond  de  Jambe  and 
Petits  Battements  sur  le  Cou  de  Pied.  Page 
216. 

7.  Stretching  the  arch  and  ankle,  3rd  and  4th 
exercises.    Page  162. 

8.  Petits  Battements  sur  le  Cou  de  Pied  and 
Grand  Rond  de  Jambe.    Page  222. 

260 


SAMPLE  LESSONS 


g.    Releves  sur  la  pointe,  with  free  foot  lifted 
backward.     Page  176. 

10.  2  slow  and  3  fast  Petits  Battements.  Page 
207. 

11.  2  Pas  de  Bourree  Changes  and  step  forward 
on  I  point.    Page  246. 

12.  7  Ronds  de  Jambe  from  the  knee  down  and 
Developpe,  in  combined  directions.  Page 
221. 

PART  II— At  the  Center 

13-24.    Repeat  the  above  12  exercises. 

25.  Polka,  Brise,  Releve.    Page  248. 

26.  2  fichappes  and  2  Releves.    Page  239. 

27.  I  Echappe  and  i  Releve,  moving  backwards. 
Page  236. 

28.  8  Releves  alternating,  moving  backwards. 
Page  237. 

29.  7  Pirouettes  sur  la  pointe  and  point  the  free 
foot  forward.     Page  186. 

30.  fichappe  and  entrechat.     Page  250. 

31.  Plastic  Exercise.    Page  195. 

Dance  (grade  3-4). 


261 


SOME  OF    I  HE 

PUPILS 

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The   CHALIF   SCHOOL 


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Ciiacc  Cody 


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Marley 


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301 


INDEX 


PAGE 

Accuracy     33 

Adagio   155 

Adagio  Movement    31 

Aplomb    23 

Arm  Positions,  The  Chalif  77 

Backward    Bending    158 

Ballon     26 

Bar  Practice 75 

Bourree  a  Terre  sur  les 
pointes    168 

Center  Exercises 241 

Clarity    34 

Correct  Posture  41 

Combinations  Containing 
Developpes    and    Grands 

Ronds  de  Jambe 218 

Combinations  Containing 
Echappes  sur  les  pointes  223 

Combinations  Containing 
Petits  Battements  and 
Grands  Battements 207 

Combinations  Containing 
Petits  Battements  sur  le 
Cou  de  Pied 212 

Combinations  Containing 
Petits  Ronds  de  Jambe..  201 

Combinations  Containing 
Plier  and  Demi-Plier..     197 

Combinations  Containing 
Releves  sur  la  pointe...  231 

Combinations  of   Exercises  197 

Dancing  and  Toe  Dancing...  11 

Demi-Plier    87 

Details  of  Technique 40 

Developpes    143 

Dexterity  32 


PAGE 

Echappes    et    Releves    Al- 

^  ternatifs   236 

fichappes    et    Releves    sur 

les  pointes   128 

Echappes  sur  les  pointes..   128 

Elevation  25 

Elevations,  The   Four 84 

Expression    55 

Expression  versus  Affecta- 
tion         61 

Feet     50 

Flexer  le  Genou 135 

Flexions    de    Genoux    Al- 

ternatifs  sur  les  pointes.  172 
Foot    Positions,    The    Five 

Standard    80 

Forward      and      Backward 

Bending    159 

Freedom 22 

Grands  Battements 132 

Grands  Fouettes   137 

Grands  Ronds  de  Jambe...  147 
Grands     Ronds    de    Jambe 

Plies    151 

Habit    39 

Harmony   35 

Hip-Joint  46 

Knees    47 

Lines  36 

Majesty    59 

Pas  de  Bourree  Change  sur 

les  pointes   173 

Pavlowa     18 

Petits  Battements 92 


303 


THE    CHALIP   TEXT   BOOK   OF   DANCING 


PAGE 

Petits  Battements  Degages  103 
Petits  Battements  Frappes  126 
Petits  Battements  in  Quick 

Tempo    106 

Petits  Battements  Releves.  99 
Petits     Battements    sur    le 

Cou  de  Pied 119 

Petits  Ronds  de  Jambe 109 

Petits  Ronds  de  Jambe  en 

lair   152 

Petits   Ronds  de  Jambe   in 

Quick  Tempo  115 

Petits  Ronds  de  Jambe  Re- 
leves        114 

Pirouettes    sur    le    cou    de 

pied    183,  186 

"Placing"'  the  Legs 44 

Plastic   Exercises    190 

Plasticity  of   Body 20 

Plier    88 

Plies  Battements  101 

Plies  Ronds  de  Jambe....  112 
Plies   Rondes  de  Jambe  et 

Degager   156 


PAGfi 

Releves  sur  la  pointe 174 

Ronds  de  Jambe 140 

Rules  of  Lines 38 

Sample  Lessons  253 

Sincerity    65 

Sideward  Bending  158 

Spontaneity  63 

Staccato  Movement    ZZ 

Strength  and  Plasticity 27 

Strength  and  Suppleness . .  28 
Stretching      and      Turning 

Out  the  Legs 163 

Stretching    the    Arch    and 

Ankle    161 

Teaching    68 

Technique    22 

Toe  Dancing    14 

Tour    Arabesque     188 

Tours  sur  les  pointes 178 

Twisting   the    Trunk 160 


304 


WORKS   OF   LOUIS   H.  CHALIF 

Published  and  far  sale  only  by 

The  CHALIF 

RUSSIAN  NORMAL  SCHOOL 

OF  DANCING 

163-5  WEST  57TH  ST.,  NEW  YORK 

A  complete  mail  order  catalogue  giving  details 
of  all  publications,  will  be  sent  on  request. 

THE  CHALIF  TEXT  BOOKS  OF  DANCING 

Book  I.  The  fundamental  positions  and  exercises  which 
are  the  simple  beginnings  of  the  Chalif  Method.  173  pp.,  6 
half-tone  illus.,  many  diagrams.     Price,  $3. 

Book  II.  A  continuation.  More  simple  exercises  of  inter- 
mediate grade,  a  disquisition  on  the  use  of  the  arms,  with 
exercises  for  them,  and  the  pedagogy  of  the  standard  ball- 
room dances.     204  pp.,  38  half-tone  illus.     Price,  $3. 

Book  III.  A  digression  into  the  field  of  the  so-called 
Greek  dancing.  Introductory  chapters  on  the  beauty  and 
significance  of  Greek  dancing.  80  exercises  which  are  as 
beautiful  as  the  dances  themselves,  with  20  variations  of  them, 
making  up  a  total  of  100  exercises.  222  pp.,  28  half-tone  illus. 
from  poses  by  the  author  himself,  4  line  cuts.     Price,  $3. 

Book  IV.  Carries  on  the  work  of  Books  I  and  II  bv  exer- 
cises of  a  higher  grade,  though  not  very  diflficult.  With  the 
five  standard  arabesques  and  70  enchainments  given,  a  vast 
amount  of  teaching  material  is  provided.     Price,  $3. 

Book  V,  on  Toe  Dancing,  contains  a  clear  method  of  teach- 
ing it  and  a  vast  number  of  exercises. 

Russian  Festivals  and  Costumes  for  Pageant  and  Dance, 
also  by  Louis  H.  Chalif,  gives  most  authentic  and  valuable 
material,  both  in  pictures  (half-tones  from  photographs)  and 
in  descriptive  text.  Religious  and  other  celebrations,  games, 
customs  and  Folk  arts  are  illustrated  and  explained.  180  pp., 
about  150  illus.    Price,  $3. 

305 


MUSIC  FOR  EXERCISES  IN  DANCING 

Junior  Part:  for  all  exercises  in  Text  Books  I  and  II.  There 
are  3  different  collections  of  music  to  accompany  these  exer- 
cises, the  object  being  to  enable  the  teacher  to  escape  mo- 
notony. The  volumes  are  called  the  4th,  5th  (or  Russian)  and 
6th  Collections.  Attractive  classical  selections  make  up  the 
4th  and  6th,  while  the  5th  is  drawn  mainly  from  Russian 
peasant  or  Folk  tunes,  very  quaint  and  appealing.  Each  col- 
lection, $3. 

Senior  Part:  for  the  exercises  in  Book  IV.     Price,  $2.50. 

Music  for  Greek  Exercises:  for  accompanying  all  the  exer- 
cises in  Book  III.     Price,  $3. 

Music  for  Toe  and  Advanced  Exercises:  54  selections  of 
classical  music  arranged  according  to  tempo,  and  just  as 
usable  for  simple  exercises  as  for  the  advanced  ones  which 
are  described  therein  in  considerable  detail,  making  it  both 
Text  and  Music  Book  in  one.  Price,  $4.  When  bought  with 
Text  Book  V,  the  price  is  $3. 

New  Music  Collections  will  be  published  from  time  to  time. 

Zorn's  Grammar  of  the  Art  of  Dancing  is  for  sale  at  the 
Chalif  School. 

500  Dances,  of  all  types,  by  Louis  H.  Chalif,  are  published 

and  for  sale.  They  are  complete,  with  music,  and  descriptions 
so  clear  and  detailed  that  they  may  be  learned  from  descrip- 
tion alone,  and  without  the  student  having  seen  the  dance 
performed.  With  a  few  exceptions,  they  are,  each,  $3.  50 
cents  each  for  Folk  dances.     There  is: 

A  dance  for  every  class. 
A  dance  for  every  occasion. 
A  dance  for  every  personality. 


306 


The  CHALIF 

Normal   School   of   Dancing 

163-5  West  57th  Street,  New  York 
LOUIS   H.  CHALIF,  Principal 

offers  courses  throughout  the  year  for 

Teachers  of  Dancing  and  Physical  Cul- 
ture, Recreation  Leaders  and 
Exhibition  Dancers 

in 

Esthetic,  Interpretive, Greek,  National, 

Characteristic,  Folk,  Contra,  and 

the  Best  of  the  Newest 

Ballroom  Dances 


A  National  Institution  is  the  truest  title  by 
which  this  School  can  be  described,  for  it  has 
come  to  be  in  a  class  by  itself  as  regards  at- 
tendance and  number  of  courses,  while  its  rep- 
utation for  sincere  art,  for  training  the  arms 
and  the  whole  body,  for  beautiful,  racially  au- 
thentic and  universally  popular  dances  and  for 
brilliant  instruction  has  won  for  it  a  rank  and 
ungrudged  honor  which  are  the  basis  of  its  more 
than  flourishing  growth. 

307 


There  are  four  classes  of  people  from  whom 
it  draws  students ;  the  first  is  the 

Dancing  Teachers 

These  derive  from  their  courses:  i.  A  thor- 
ough training  in  the  basis  of  all  dancing,  bring- 
ing understanding  of  its  laws,  strength  and  skill 
for  its  movements,  and  grace  and  temperamental 
expression.  2.  An  unusually  large  and  diversi- 
fied repertory  of  dances  from  the  higher 
branches,  all  of  which  are  compositions  or  ar- 
rangements by  Mr.  Chalif.  3.  The  teacher  se- 
cures a  complete  equipment  of  the  modern 
ballroom  dances,  both  standardized  New  York 
forms,  and  every  latest  approvable  novelty. 
4.  A  thorough  training  in  Pedagogy  is  imparted, 
by  a  teacher  who  is  exceptionally  successful  in 
bringing  results. 

Physical  Culture  Teachers 

Are  the  next  class  of  students  in  attendance. 
They  secure  here  for  their  School,  Y.  W.  C.  A., 
Y.  M.  C.  A.  or  Turnverein  gymnasium,  that  ele- 
ment of  artistic  enjoyment  and  education  which 
is  so  rapidly  becoming  one  of  the  main  features 
of  gymnastic  training.  Moreover,  dancing  is  of 
high  value  for  physical  health  and  dexterity.  Our 
compositions  are  taught,  by  our  students  and 
their  pupils,  in  the  gymnasia  of  Universities, 
Turnvereins,  private  schools,  etc.,  in  every  city 
of  America  and  in  Europe  as  well. 

308 


Public  School,  Playground  and 
Settlement  Teachers 

Attend  for  similar  reasons  to  the  above,  find- 
ing Chalif  dancing  of  great  value  for  artistic 
training,  intellectual  stimulus,  recreation,  health 
and  coordination,  and  as  attractive  to  the  bare- 
footed urchin  as  it  is  to  the  lady  of  society.  .  .  . 
Lastly, 

Exhibition  Dancers 

Find  Chalif  dancing  a  medium  by  which  their 
artistic  gifts  may  be  developed  to  the  theatre's 
degree  of  perfection  without  the  years  of  study 
required  by  the  classic  ballet.  One  of  our  pupils 
became  in  the  year  after  her  graduation  a  solo 
dancer  in  one  of  the  famous  ballets  of  Paris. 

Courses 

Instruction  is  by  the  Principal  personally,  prac- 
tically always.  Classes  the  day  long  and  every 
day  in  all  the  branches  of  dancing  and  in  differ- 
ent grades,  are  held  each  year  for  8  weeks  dur- 
ing June  and  July  and  for  fortnights  during  the 
Christmas  and  Easter  holidays.  Especially  pop- 
ular is  the  regular  normal  course,  leading  to 
diploma  and  furnishing  the  complete  equipment, 
practical,  theoretical  and  pedagogic,  of  the  danc- 
ing teacher. 

Daily  classes  continue  throughout  most  of  the 
year,  and  in  the  winter  there  are  also  weekly  ses- 

309 


sions  on  Saturday  mornings  and  at  other  con- 
venient times  for  teachers,  as  well  as  numerous 
classes  for  children,  and  adult  amateurs. 

More  definite  announcements  are  impossible  in 
a  book,  but  current  catalogs  will  be  sent  with 
pleasure  on  application. 

Building 

All  instruction  is  given  in  the  home  newly 
erected  for  the  Chalif  School  (as  well  as  for 
select  rental  purposes)  opposite  Carnegie  Hall. 
It  is  a  six-story,  fire-proof  structure,  contain- 
ing four  halls,  elevators  and  every  convenience. 
It  possesses  a  remarkable  beauty  of  design  and 
coloring,  both  without  and  within,  where  the 
furnishing  too  is  of  the  most  artistic.  The 
classes  are  most  often  held  in  a  delightful  Roof 
Parlor,  where  light  and  color  combine  to  in- 
spire but  not  outshine  the  dancers.  Altogether 
the  building  is  unparalleled  for  its  purposes  in 
America,  and  a  striking  evidence  of  the  success 
which  this  school  has  met  with  through  giving 
the  best  instruction. 

For  all  information  please  address 

LOUIS  H.  CHALIF,  Principal, 
163-5  West  57th  St.,  New  York  City 

The  Chalif  Normal  School  of  Dancing 

ELIZABETH   GILFILLAN, 
Musical  Director 


310 


UNIVERSITY  OF  CALIFORNIA  LIBRARY 

Los  Angeles 

This  book  is  DUE  on  the  last  date  stamped  below. 


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DEC    7197-^ 


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OISCHAKGE 
APR     S 197 


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Form  L9-Series  4939 


GV1751.       C35C    1914         5 

j        3  1158  00427  0970         W^ 


